Maya Beiser — „Maya Beiser x Philip Glass“ (July 23, 2021)

FRANCE FLAGArgentina flagUSA FLAG                      Maya Beiser — „Maya Beiser x Philip Glass“ (July 23, 2021)
•⊆⊇•  Album obsahuje úpravy (Maya Beiser) klavírních etud Philippa Glasse č. 2 a 5, Mad Rush, Music in Similar Motion a výběr z Naqoyqatsi, která je součástí Glass’s Qatsi Trilogy s filmařem Godfreyem Reggiem. Na tomto albu Maya vytváří se svým violoncellem vícevrstvou zvukovou sochu, která zkoumá a odhaluje nové dimenze v některých z nejmocnějších a bolestně krásných děl Philipa Glasse. Maya říká: „Co vidím, když poslouchám hudbu Philipa Glasse? Co cítím? Jak konstrukce a dekonstrukce těchto zdánlivě jednoduchých harmonických a melodických frází ovlivňuje mé vnímání? Při tvorbě tohoto alba jsem hledala vrstvy zvuku, které by mohly odhalit něco nového o geniální tvůrčí síle Philipa Glasse. Přemýšlela jsem o vrstvě, která se vyskytuje ve většině sedimentárních hornin vytvořených na zemském povrchu. Představovala jsem si, jak se vrstvy mého violoncella stávají porézními a Glassova hudba, proudící každou vrstvou hlasitě jako láva, vytváří nové vzory donekonečna a expanduje do krajiny.“
•⊆⊇•  “A brilliant cellist with a stunning command of her instrument” — NPR
•⊆⊇•  “a force of nature” — The Boston Globe
Location: New York City (French mother/Argentine father)
Album release: July 23, 2021
Record Label: Islandia Music Records
Duration:     65:29
01. Etude No. 5 (Arr. M. Beiser for Cello)   9:27
02. Etude No. 2 (Arr. M. Beiser for Cello)   8:53
03. Mad Rush (Arr. M. Beiser for Cello)   17:03
04. Music in Similar Motion (Arr. M. Beiser for Cello)   10:52
05. Naqoyqatsi (From ‘Naqoyqatsi’) [Arr. M. Beiser for Cello]   5:13
06. Massman (From ‘Naqoyqatsi’) [Arr. M. Beiser for Cello]   7:02
07. New World (From ‘Naqoyqatsi’) [Arr. M. Beiser for Cello]   4:06
08. Old World (From ‘Naqoyqatsi’) [Arr. M. Beiser for Cello]   2:53Maya Beiser
•  Performed by Maya Beiser, Cello
•  Composed by Philip Glass
•  Arranged and Produced by Maya Beiser
•  Recorded at Hudson Hall at the historic Hudson Opera House, NY
•  Engineered and Mixed by Dave Cook at Area 52 Studios
•  Mastered by Scott Hall at Masterdisk
About Maya Beiser: 
⊇  Describing innovator cellist, producer, and multifaceted artist Maya Beiser, The New York Times writes, “The adventurous Ms. Beiser has been called the ‘cello goddess,’ which is not hyperbole: She summons from her instrument an emotional power so stirring that even the most stoic audience members risk turning into sobbing sacks of flesh.” Bringing a bold and unorthodox presence to contemporary classical music and defying conventional norms with her boundary~crossing performances, Maya has been hailed as “the reigning queen of avant~garde cello” by The Washington Post, and a “cello rock star,” by Rolling Stone.
⊆  Maya is a featured performer on the world’s most prestigious stages including Lincoln Center, Carnegie Hall, Brooklyn Academy of Music, the John F. Kennedy Center for the Performing Arts, London’s Southbank Centre, Royal Albert Hall and the Barbican, the Sydney Opera House, the Beijing Festival, Barcelona’s L’Auditori, Paris’ Cité de la Musique, and Stockholm’s Concert Hall. Among the wide range of artists with whom she has collaborated are Louis Andriessen, Philip Glass, Tan Dun, Steve Reich, Brian Eno, Mark Anthony~Turnage, Shirin Neshat, Erin Cressida~Wilson, Bill Morrison, Robert Woodruff, Missy Mazolli, David Lang, Michael Gordon, Julia Wolfe, Pontus Lidberg, Wendy Whelan, Lucinda Childs and Joe Hisaishi.
⊇  Maya’s vast discography includes thirteen solo albums. Her recent albums Bowie Cello Symphonic: Blackstar (2020), delugEON (2019), Tranceclassical (2016), Uncovered (2014) and Provenance (2012), topped the classical music charts. She is the featured soloist on many film soundtracks, including an extensive collaboration with composer James Newton Howard.
⊆  Maya Beiser is a United States Artists (USA) Distinguished Fellow in Music; a Mellon Distinguished Visiting Artist at MIT Center for Art, Science & Technology; and was a Presenting Artist at the inaugural CultureSummit, held in 2017 in Abu Dhabi. Invited to present at the prestigious TED main stage in Long Beach, CA, Maya’s TED Talk has been watched by over one million people and translated to 32 languages. She has been featured on NPR’s Tiny Desk Concerts and All Things Considered, PBS News Hour, and the BBC World News. Maya is a graduate of Yale University.
About Islandia Music Records: 
⊇  Islandia Music Records is an independent record label founded and spearheaded by cellist and producer Maya Beiser, one of the foremost soloists and avant~garde artists of her generation. Beiser’s desire to be the driving force behind her artistic expression led her to concentrate on an intensely rich and innovative solo career. She has engaged composers, choreographers, dancers, visual artists, filmmakers, sound designers, and technology innovators to create works written for her or by her and interpreted through her singular artistic lens.  The freedom to chart her own course made it possible to become a game changer in the contemporary creative landscape. A platform for self~expression and daring artistic adventures, Islandia Music Records allows for a broad palette of collaborative patterns: between the old and the new, the brazen and the subtle, the dark and the hopeful.
•⊆⊇•  Perhaps the most surprising thing about the idea of cellist Maya Beiser devoting an entire recording to Philip Glass material is that it didn’t already happen years ago. Not only has this boundary~crosser of the first rank been a champion of new music for decades, Beiser has a direct connection to Glass: in 2005, she performed with his ensemble when it undertook a worldwide tour of his Qatsi Trilogy. Issued on her Islandia Music Records label, her fourteenth solo album mesmerizes with stirring interpretations of Mad Rush, Music in Similar Motion, material from the Naqoyqatsi score, and treatments of two piano etudes, the set~list ostensibly presenting a compelling microcosm of Glass’s output.
Intrepid by nature, Beiser’s the kind of artist more inclined to tackle Bowie’s Blackstar (which she did in 2020) than cello works by Bach and Britten. A scan of the artists with whom she’s collaborated reads like a ‘who’s who’ of contemporary music, with names such as Andriessen, Reich, Eno, Mazolli, Lang, and Wolfe dotting the list. An early member of The Bang On A Can All~Stars, Beiser’s desire to chart her own course inspired her to venture out on her own, the result an enviably rich and rewarding career as a solo artist.
•⊆⊇•  One of the things recommending the release is the particular sound character Beiser achieves. As cello layers accumulate, the sharp contours of the instrument’s expressions are softened and the separation between elements blurs. Yet whereas that does apply to the oft~dense backdrop, the lead melodic voice is often clearly defined, much like the way a soprano soloist stands out from the choir. The abundance of cello layers Beiser produces (using the Boss RC~300 Loop Station, for example) creates an hypnotic cumulative effect and transforms this solo cello recording into one simulating performances by a cello ensemble. She not only performed and produced the material, she also created cello arrangements for pieces originally scored otherwise, the piano etudes for instance. That enables pieces one might be familiar with to be experienced afresh and their beauty to be appreciated anew.
•⊆⊇•  Particularly arresting are the two etudes and Mad Rush. Etude No. 5 introduces the album hauntingly as Beiser patiently essays its see~sawing patterns and articulates its plaintive phrases. Here and elsewhere, her exquisite command of tone and vibrato is on full display as the layers incrementally gather into a lulling mass. Even more spellbinding is Etude No. 2 for its melodic design. Beiser begins with a solo statement of the work’s lyrical melody before building on it one bit at a time. Ascending gracefully, the main theme inhabits an upper realm that sees the hushed lead line singing angelically. Counterpoint is masterfully handled too, especially when low~ and high~register patterns are juxtaposed. Oscillating between torrential swirl and contemplation, Mad Rush (1979) includes what’s arguably the album’s most memorable sequence: as the piece nears the end of its seventeen~minute journey, Beiser extends a note within the main theme to intensify and sustain tension before resolving the melody with two descending notes.
•⊆⊇•  Positioned midway through the album is the earliest work, Music in Similar Motion, a metronomic trance~inducing exercise from 1969 that impresses on execution grounds and gains animation from a cello~produced percussive pulse. Occupying the last slots in the set~list are the four Naqoyqatsi pieces, the title work first and then Massman, New World, and Old World. Emblematic of the project’s ensemble~styled sound, the four feature arrangements that see cello voicing parts that in another context would be played by violin, piccolo, celeste, and other instruments. Though Massman and Old World are particularly bewitching, all four settings are quintessential Glass and instantly recognizable as such.
A major reason for Glass’s staying power has to do with melody and specifically his gift for writing themes of immense emotional potency. Anyone still questioning his legitimacy as a composer need only turn to the three opening pieces on the album to have that issue laid to rest, and the riveting conclusion to Mad Rush alone justifies the acquisition. — Textura
•⊆⊇•  INTERVIEW, Olivia Giovetti:
By Corinna da Fonseca~Wollheim, Oct. 18, 2012: