The terrific Matt Haimovitz is back with another fascinating CD, this time featuring the Cello Concerto No.2 “Naqoyqatsi” by Philip Glass (Orange Mountain Music OMM 0087). Long-time Glass champion Dennis Russell Davies provides excellent support with the Cincinnati Symphony Orchestra. Continue reading →
Philip Glass. Cello Concerto No.2 “Naqoyqatsi”. Matt Haimowitz–Denis Russell Davies. Cincinnati Symphony Orchestra. Orange Mountain Music.
Philip Glass makes music that mostly sounds like Philip Glass. His motifs replicate identically, like stem cells that each possess within a tiny tendency to be unstable and to seek out variation. Continue reading →
The music for Philip Glass’ second concerto for cello and orchestra is cobbled from a 2001 film score, Naqoyqatsi: Life as War. Glass seems to have particular success when using Hopi Indian words as musical inspiration. Remember the famous scores to the films Koyaanisqatsi and Powaqqatsi? …
Speaking by phone from Montreal, Israeli-born cellist Matt Haimovitz revealed that he’s a great admirer of the American singer Nina Simone. Looking at his life and career, one can easily see why. Like Simone, Haimovitz is admired for his solid classical grounding, eclecticism, improvisatory brilliance and the fact that he defies easy classification. Continue reading →
Christopher O’Riley & Matt Haimovitz/Shuffle, Play, Listen (Oxingale Records) – At this point, there’s no denying that pianist/arranger Christopher O’Riley is the preeminent interpreter of contemporary rock music, Continue reading →
Composer Philip Glass featured the cello in his soundtrack to the Godfrey Reggio film “Naqoyqatsi,” he said, because “we think of the cello as the instrument closest to the human voice.”
On Friday night, the Cincinnati Symphony Orchestra and cellist Matt Haimovitz performed the world premiere of Glass’ Cello Concerto No. 2, “Naqoyqatsi,” a CSO commission based on his film score. On the podium was Dennis Russell Davies, a frequent Glass collaborator.
When renowned cellist Matt Haimovitz was 17, he hadn’t played a note written in the 20th century, he recalls. “I grew up in a very traditional classical music home.”
So this weekend, when the Julliard-trained California native premieres a Philip Glass cello concerto, he’ll continue on his genre-bending path to keep classical music “living, breathing” and Continue reading →