What’s the story?
The music of the so-called ‘minimalists’, led by Philip Glass and Steve Reich, has always provided a strong link between classical and electronic music, and has naturally inspired a number of artists positioned at that junction.
Reinterpretations of Glass and Reich have varied considerably though, from those who like to perform the music straight with no added frills to those who have added drum tracks and remixed them beyond almost all recognition. In that sense the music has been an inspiration, but it has on occasion proved difficult to get the balance right.
Pianist Bruce Brubaker and scientist / electronic music producer Max Cooper have teamed up for their own reinterpretation of the music of Philip Glass, approaching it with a view to adding subtle enhancements rather than radically changing its essence. Cooper has developed his own system for musical expression with Alexander Randon, taking live feeds from the piano to drive his own systems.
What’s the music like?
Brubaker performs well-known Glass piano pieces such as Mad Rush, Two Pages and Metamorphosis 2 with great sensitivity, to which Cooper adds the expressive studio touches and atmospherics. That may seem like straightforward solution, but both performers have to be careful to avoid over-egging what Glass has already done.
The pair link the originals with improvised music of their own. This is through a series of five preludes where Brubaker channels the spirit of Glass but brings in external influences from the likes of Liszt and Bach to galvanizing effect.
There are so many notes in the busy keyboard pieces such as Mad Rush that to do too much would not work – but here the judgement of both performers is right on the money. The piano parts are essentially the same, but Cooper cleverly highlights elements of the busy lines with his own spotlit textures, putting shards of white noise on the top of the likes of Mad Rush and opening out the sound with long bass notes, taking us from intimate beginnings to cinematic, big-venue textures. He does this without compromising the solitary world of a piece like Metamorphosis 2, and each one makes an unexpectedly weighty emotional impact.
While the reinterpretations of pieces like Tirol Concerto are excellent, Brubaker and Cooper’s interpretation of Two Pages is outstanding. It is ideally paced, the tracer lights of the keyboard operating over great waves of synthesizer pads, the chords shifting simply but with a devastatingly effective emotional payoff. So far each listen to this particular track has left a tear in the eye!
Does it all work?
Yes. It is immediately clear that Brubaker and Cooper hold the music of Glass in the utmost respect, but also that they know how to bring it forward and point it towards a slightly more club-orientated audience. There are no beats at any point, but the electronic sounds and textures bring them much closer – and Glass’s own rhythmic impetus is enough in any case. Each track is carefully woven and lovingly produced, and sounds great on headphones.
Is it recommended?
Very much so. Glass and Reich have had some excellent remix treatment in the last 25 years or so, but Bruce Brubaker and Max Cooper have really raised the game with this album, which is both wholly complimentary to Glass but offers something new in its own right. It is a really fine achievement.