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Three Pieces in the Shape of a Square Features
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About Three Pieces In The Shape Of A Square
Product Description Craig Morris, former principal trumpet player of the Chicago Symphony Orchestra, has recorded brilliant solo trumpet versions of three Philip Glass classics. Morris's new recording features works ranging from Glass's constantly shifting 'Melodies' (1995) to the driving minimalist rhythms and figures of 'Gradus' (1968) and 'Piece in the Shape of a Square' (1967). 'Melodies' was written as incidental music for a play based on the novel, Un Captif Amoureux (Prisoner of Love) by the French author Jean Genet. Glass's thirteen melodies cover a wide range of emotion, from touching and introspective to joyous and dancing. The visual element of 'Piece in the Shape of a Square,' is much more a part of the composition than it is in 'Gradus.' The music is set up in a roughly 10' square, with one performer on the inside of the square and one performer on the outside. The performer on the inside moves around the square in a clockwise direction, while the performer on the outside moves around in a counterclockwise direction. Virtuoso trumpeter Craig Morris plays both parts on this fascinating recording. Review An hour-long all-Philip Glass solo trumpet recital? On paper, the idea sounds tantamount to slow torture. In reality, it's quite mesmerizing, at least in the hands of the Chicago Symphony's former principal trumpet wizard, Craig Morris. Originally scored for saxophone, Glass' thirteen 1995 Melodies are disarmingly tuneful and easy on the ear, although they're full of subtle rhythmic variations and accents. The music loses nothing in translation via Morris' prodigious breath control, seamless registral control, and spot-on intonation. Morris also obtains tonal and emotional variety by dividing the pieces between standard trumpet (with a cup mute for Melody No. 10), flugelhorn, and piccolo trumpet. The sheer finesse and intelligent dynamic gradations with which Morris executes Gradus' obsessive yet cannily varied repeated phrases not only hold interest throughout the piece's duration but also illuminates the composer's phrase structure. Piece in the Shape of a Square is designed for two musicians: one within a square, and the other outside of the square. The two-part writing is mostly imitative, and often at close conversion, with a cumulative effect that can either be hypnotic or boring. It depends on the listener, but even more on the performer. Again, Morris' multi-tracked performance grips your attention through intelligent scaling of dynamics and timbral diversity. It's obvious that Morris has lavished these interpretations with an abundance of thought, care, patience, and practice, and his dedication is rewarded by Bridge's superb production values. Artistic Quality: 10 Sound Quality: 10 --Jed Distler / Classics Today.com
