Some of the most exciting performances of the BAM 2014 Next Wave Festival have been appearances by Philip Glass. Earlier this fall, Glass reunited with Steve Reich to play to a packed Howard Gilman Opera House. This weekend, Glass returned to the same stage for the New York première of his complete Piano Etudes. Produced by Glass’ long-time collaborator Linda Brumbach, the dazzling showcase divided the 20 etudes equally among the ten performers.
When thinking of Glass’ minimalist style, I almost always recall an incident at our alma mater, The University of Chicago. One day, in the library coffee shop, Glass’ music was playing. In an otherwise peaceful space, someone angrily huffed, “Is this Philip Glass? I always feel like if he doesn’t modulate soon, I’m gonna kill myself!” Hearing the Complete Etudes performed by ten different musicians is enough to convince anyone that Glass’s music is much more than endless arpeggios.
The line-up included a mix of composers, pianists, and composer-pianists. Though Glass should be the expert on playing Glass, he and the other composers on the bill were not as satisfying to hear as those who work primarily as pianists. Indeed, just because you can compose for the piano does not mean your piano technique is up to snuff. Friday’s performance of the Complete Etudes was definitely a ladies’ night, with the most exceptional performances by Maki Namekawa, Jenny Lin and Sally Whitwell.
Maki Namekawa, who just this year performed the Complete Etudes in both the United States and Europe, was the most captivating by far. In Etude no. 19, she brought out the complex and often conflicting sentiments in the music. The magic of Glass’ music is that, in its abstract simplicity, listeners can map their own meanings onto it. Namekawa rose above technique, and even “interpretation,” to enter the kind of meditative state one must be in to fully appreciate Glass’ style, and especially to perform it. Egoless, abstract appreciation of aesthetic experiences is what Glass’s music encourages, and Namekawa gets that.
Though Namekawa was the obvious standout, Jenny Lin and Sally Whitwell were almost equally impressive. Lin displayed exceptional strength and unrelenting precision in Etudes no. 7 and 8 – a true virtuoso. Whitwell achieved a healthy balance between perfect pianistic technique and the more rough and rubato-filled sound that Glass uses himself. Glass bends the tempo so much, and is occasionally uncoordinated between his right and left hands. Of all the composers on the program, Whitwell was definitely the most compelling as a pianist.