Life > February 14, 2008

By Jermyn Davis | Staff writer

Seen as the dumb jocks of the musical world, many people view percussionists as some of the least talented people in an orchestra. However, during her Feb. 9 performance at the university, Dame Evelyn Glennie proved why percussionists can be some of the most talented musicians.Glennie, a Grammy award winner, is the first person to ever make a career as being a solo percussionist.

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Glennie’s career is even more spectacular when one considers the fact that she is hearing impaired. Amazingly, her disability does not in any way affect her artistry.

An artistry that was in perfect form as she made the most unusual percussion instruments sound like the voices of angels. Before Glennie performed, the audience was treated to a couple of pieces by two of the most prolific composers in history.

Performing in Wait Chapel under the baton of Robert Moody, the Winston-Salem Symphony began the evening with one of Richard Strauss’ tone poems, Till Eulenspiegel’s Merry Pranks.

Although I wish the strings had stronger sound, the piece was performed well. The second piece, Arnold Schoenberg’s Verklarte Nacht was in clear need of more work.

The overall cohesion of the piece was poor, which resulted in a lackluster performance. Glennie then joined the orchestra and performed Joseph Schwanter’s Concerto for Percussion and Orchestra.

“Schwantner has emerged in recent years as one of the world’s leading composers,” Professor of Music David B. Levy said.

Levy was right as this piece highlights not only the rhythmic aspects of percussion but the beautiful lyrical qualities of all the different percussion instruments as well.

This three movement work began with Glennie on an elevated platform behind the percussion section. The first movement, Con Forza, began with a loud rhythmic force as Glennie played an assortment of drums.

The next phrase, played on an amplified marimba, introduced a melody and showed Glennie’s effortless fluidity.

The two different opening motifs, one rhythmic and one lyrical, not only gave way to the excitement of the piece but also set up an interesting dichotomy that would be transparent throughout the work.

The second movement, Misterioso, required a shift in positions, both figuratively and literally, as Glennie played this slow somber movement at the front of the stage.

Misterioso allowed Glennie to display the wide diversity in percussion instruments.

The highlight of the piece was when Glennie playing a vibraphone with a bass bow and her changing the pitch of the tam-tam by lowering it into a kettledrum filled with water.

The third movement, Ritmico con Brio, started with Glennie in the same location, but she eventually moved back to her original location while improvising.

Finishing the piece, Glennie showed her full technique as she performs the cadenza.

The performance given by Glennie, particularly in the cadenza, conveyed to the audience why she stays in such high demand. Glennie is not only exciting to listen to, but she is also fun to watch.

Careful not to become ostentatious with movement as most musicians do, Glennie was engaging on many levels.

I have heard Glennie’s recording before, but her live performances validate the idea that music is not solely auditory but visual as well.