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Brooklyn Rider Plays Philip Glass: A Lush, Rich Treat

02.25.11
Brooklyn Rider
Lucid Culture

To call cutting-edge string quartet Brooklyn Rider’s new album Brooklyn Rider Plays Philip Glass a “cohesive performance” doesn’t remotely do it justice. Other than solo passages, which are relatively few, it is for all intents and purposes impossible to tell the individual players apart. More often than not, the overall sound is like a giant, animated accordion. The players – violinists Johnny Gandelsman and Colin Jacobsen, violist Nicholas Cords and cellist Eric Jacobsen - don’t take their phrasing lightly. Each one digs in with an intensity and a group vision that borders on the telepathic. It’s absolutely impossible to think of an ensemble better suited to these attractive, often absolutely beautiful pieces (Glass himself serves as co-executive producer here, which pretty much says it all).

Like a lot of other composers, Glass has no shyness about recycling his favorite ideas and riffs – and if they’re as memorable as the ones here, why not? As is their custom, the group put them in historical context, opening with the premiere recording of Glass’ Suite from “Bent” for String Quartet, an endless series of permutations on warmly consonant broken chords: it’s like an extended rock suite for string quartet, and it’s a hit. Then they take it back in time for Glass’ String Quartet No. 3 (a homage to Yukio Mishima), which uses a similar broken-chord device, and then his String Quartet No. 1 which is more of a tone poem, an exercise in effectively hypnotic atmospherics. The second cd here includes three more string quartets. No. 4 works an endless, almost imperceptibly crescendoing series of eighth-note passages, a real workout for the musicians, but their stamina never cracks. No. 2 is more hypnotic, a dizzying series of echo effects that sometimes hover, sometimes make a fugue with the warmth of the underlying atmospherics. No. 5, which concludes this massive recording project, trades off repetitive, circular themes that sometimes evoke the group’s landmark 2008 collaboration with Kayhan Kalhor, Silent City: it closes the album on an aptly pensive note. To have this much beauty in one place is a treat in itself. To hear it played as seamlessly and spiritedly as Brooklyn Rider have done here is even more of one. They’re at Alice Tully Hall, with Kalhor, on March 9 playing and premiering some of this, a concert not to be missed if you’re a fan.