Philip Glass (b. 1937)
Violin Concerto No. 1 (1987)
Echorus (1995)
New Chaconne (2024)
Anne Akiko Meyers (violin)
Aubree Oliverson (violin: Echorus)
Emmanuel Ceysson (harp)
Los Angeles Philharmonic/Gustavo Dudamel (concerto)
Academy Virtuosi (Echorus)
rec. 2024, Walt Disney Concert Hall, Los Angeles (concerto); The Colburn School, Zipper Hall, Los Angeles (others)
Platoon AAM02 [38]
Philip Glass’s first violin concerto was written in memory of his father, in whose record store the composer-to-be worked. In the booklet notes, Anne Akiko Meyers mentions the prominence of the three note sequence “D-A-D”, and how when she remarked on it to Glass, the composer told her “Over these decades, many performances and many recordings, no one has ever mentioned that to me. I don’t know how I could have made it any more obvious.”
Actually Philip, there aren’t that many recordings – perhaps six – and the only other one I have in my collection is that by Adele Anthony on Naxos. It was my first encounter with Glass’s music, and has remained a favourite recording. It now has a competitor for my affections with this new recording, though I think there is room for both as there is some difference in the two approaches, despite similar timings. Anthony is harder driven and a little abrasive, while Meyers is more poetic, but without sacrificing the necessary drive in the outer movements. She is also supported by a stellar orchestra and conductor, though there is nothing amiss with Anthony’s support. Overall, Meyers wins out by a small margin. I haven’t heard the recordings by Gidon Kremer or Robert McDuffie, but I doubt they will outdo Meyers.
The beautiful slow movement of the concerto gave a clue as to where Glass’s music would move in the next decade: a more lush and melodic style, exemplified by the wonderful score for The Hours and his two books of Etudes. Echorus, for two violins and string ensemble, has elements of the old and new, but this new recording does not show the work at its best. Of the four recordings in my collection, it is the slowest, and feels it. The Daniel Hope-led performance on Deutsche Grammophon is a minute and half quicker than this new one, and the contrast is considerable: Hope’s is energised, while Meyers’s drags its feet. The Academy Virtuosi is a student ensemble, ages 14-18, based at the Colburn School in LA, and plays very well: the dragging tempo is not of their doing.
New Chaconne, scored for violin and harp, was written for Meyers. The booklet notes describe the work as fast and joyous, but I felt neither adjective was really appropriate, finding it meandering and, frankly, rather underwhelming.
Anne Akiko Meyers is a very fine violinist, and known for her performance of contemporary music. The concerto shows her at her best, Echorus not so. Her partner soloists are undoubtedly good musicians, but Aubree Oliverson in Echorus is hampered by the tempo, and Emmanuel Ceysson by the unrewarding part for harp in New Chaconne. Booklet notes are serviceable, the quotes from composer and performers providing some good background. Where the recording does stand out is the sound quality, which is quite stunning, with an extraordinary amount of detail discernible in the concerto.
As far as I can tell, this is only available to stream on the usual platforms. Given how little these services pay the artist(s) per play (apparently), it is hard to see how the money spent on the recording will be recouped. In this era where vinyl is becoming fashionable again, this 38 minute album would seem an ideal candidate for that medium.
Rather a game of two halves here then, with the concerto outstanding, but the other two works forgettable by virtue of the artistic choice or the writing.
David Barker
Availability
Streaming only.
