Summary
Deutsche Grammophon have taken the opportunity to celebrate Philip Glass’s 80th birthday with their new signing, Icelandic pianist Víkingur Ólafsson. He has already performed the piano etudes with the composer himself, and has recognised the depth of invention and emotion that sits beneath the surface of what initially seems to be repetitive, mechanical music.
‘My approach to each of the etudes is to enable the listener to create his or her own personal space of reflection’, he says in the DG press release – and we will get more of his thoughts in an interview given to Arcana shortly.
What’s the music like?
Ólafsson is true to his word. The Etudes – even in Glass’s own performances – can seem a bit dry and difficult to approach. Not so with Ólafsson, whose incredible control means he can play with unexpected grace, using the pieces as reflections but also catching the nuances of Glass’s rhythmic writing. The quality of the DG recording helps here too.
The contours of the Opening piece are caressed and beautifully phrased, proving to be much more emotive than if played straight, as Glass so often is. In No.5 he is slow and lost in thought, and in no.14 too, but by contrast the Etude no.9 is quite punchy. Etude no.15 has a powerful surge in D major before adopting a dance-like profile, while the nervous energy of No.3 puts the performance more on edge.
Quite how Ólafsson plays the repetitive notes of the Etude no.6 is a complete mystery! His performance of no.2 brings both sides of Glass together, beginning in sombre and reflective mood but building to something pretty substantial. Here he is joined by a string quartet, an arrangement by Christian Badzura that proves effective at breaking up the sound of the solo piano and introducing some more colours to the mix.
Does it all work?
Yes, thanks to Ólafsson’s sensitivity and Glass’s awareness of the different colours the piano can offer him. Much of the music here is typical Glass, arpeggiated and with subtle but lasting twists to the harmonies – and it works really well in this context.
Is it recommended?
Without hesitation. So much so that this is probably the best album we are likely to encounter in Glass’s 80th birthday year.
Ben Hogwood
Listen on Spotify
Arcana.fm 