The same qualities people love about Philip Glass are the same things others hate, the broken chords and the broody ambiences among them. Every film in which one of his scores is heard seems less like a soundtrack than a music video (The Truman Show, Watchmen, Notes on a Scandal are but a few). Put Glass’s work to any moving picture and it’ll instantly become that much more dramatic.
The Violin Concerto (1987), his first work using a traditional 3-movement structure, reimagines the concerto form. Instead of a soloist’s showcase, it’s basically a symphony with an extra violin teasing out the trickier passages. It opens with throbbing strings that give way to the violin’s arpeggios, in music that sculpts rather than demarcates time–“sequences and cadences” as Glass calls his densely packed style. An unhurried, lush second movement has the soloist cascading in and out of orchestral coruscations, while the third movement is an almost jolly dance, with the violin practically flipping out with minimalist fiddling.
All of which is to say that this is prime Philip Glass, and one of the great modern concertos for any instrument. On this 180g reissue (the album dropped in 1993) Gidon Kremer’s expansive, crisp playing is completely suited for the concerto in every way.