[atlantaprog] Fwd: Arts at Emory: Percussion Virtuoso Evelyn Glennie Comes to the Schwartz (Feb. 7, 8 p.m.)

Not cheap, but I hear she's amazing! She recently did a project with Steve Hackett -

For immediate release:  Jan. 5, 2006
Contact: Nancy Condon, Arts at Emory,
404-727-1687, nancy.condon@xxxxxxxxx
 
Percussion Virtuoso Evelyn Glennie Performs at the Schwartz Center
Two-time Grammy winner Evelyn Glennie performs her eclectic and innovative solo percussion on Emory’s Schwartz Center stage on Feb. 7 at 8 p.m. ($48, discount category members $36, Emory students $5). An energetic and intensely focused performer, Glennie can use up to 60 instruments in a live show; she owns more than 1,800 in all, including some she has made herself. For her Emory concert, she is playing the marimba, snare drum, bongos and maracas — and even her own body. Glennie’s remarkable program includes such diverse pieces as Bach’s “Toccata and Fugue,” which she has arranged for percussion, Vinko Globokar’s “?Corporel,” with its startling thigh slapping and rhythmic pulsing, and Askell Masson’s “Prim,” a piece written for solo snare drum that is based on the rhythmic patterns of prime numbers (from which the piece gets its name). By combining superb technique, a profound appreciation of the visual and her astonishing musicality, Glennie creates performances of such vitality that they almost constitute a new type of performance. For tickets and information, call 404-727-5050 or go to www.arts.emory.edu.
Glennie believes that music is something to be felt as much as heard. ''Hearing is a form of touch,'' she has said. ''You feel it through your body, and sometimes it almost hits your face.'' Those words resonate throughout her website (www.evelyn.co.uk); her bestselling autobiography, “Good Vibrations”; and her recently released documentary, ''Touch the Sound.” Directed by Thomas Riedelsheimer and subtitled ''A sound journey with Evelyn Glennie,” the film explores her experiences with the sensory world and features the collaborative recording of an improvisational CD with experimental guitarist and composer Fred Frith in an abandoned sugar factory in Germany, where much of the film was shot. For more information, go to www.touch-the-sound.com.
Glennie, who was born in Aberdeen, Scotland, is said to be the first person in music history to create a full-time career as a solo percussionist. When she began 20 years ago, she went into uncharted territory in the classical music world. Essentially no music existed for solo percussion. Since then, she has commissioned more than 133 new works and written many of her own. Much of her music, including the piece “Icefall,” which makes use of music boxes and synthesizer and is part of her Emory performance, is improvisational. Now one of the world's top international concert soloists and most in-demand percussionists, Glennie gives more than 100 performances a year and collaborates with the finest musicians, conductors and composers, including Bjork, Bela Fleck, Bobby McFerrin, Sting, the Kings Singers (recently at the Schwartz), Nana Vasoncelos, Kodo and Frith. She has also won numerous awards, including 70 international awards. In 1993, at the age of 27, she was awarded the Officer of the British Empire (OBE) for her services to music. Her first CD, a recording of Bartok's “Sonata for Two Pianos and Percussion,” won her a Grammy in 1988. She was nominated for two more Grammies, one of which she won in 2002 for a collaboration with Bela Fleck for Sony Classical. In addition to her live performances and recordings, Glennie composes and records music for film and television. For her first television work, she produced a score so original that she was nominated for a British Academy of Film and Television Arts awards, the UK equivalent of the Oscars.
In recent years, Glennie has become increasingly interested in the healing properties of music. After 20 years in the music business, she has begun teaching privately, which allows her to explore the art of teaching and the world of sound therapy as a means of communication. (She believes that “music” therapy is a misnomer.) As she says, "Every sound is literally a medicine, and if you could only put those sounds in a bottle and say, 'Drink that for 10 days; you'll feel much better.'"
The day after her performance, Glennie, an Emory Coca-Cola Artist in Residence, is presenting a percussion masterclass (Feb. 8, 11 a.m., free, public welcome to observe).
 
ARTS AT EMORY
Emory is home to a vibrant arts community and welcomes the public to more than 200 annual events featuring student, faculty and guest artists. As many as 80 concerts are performed each year, ranging from presentations by internationally-acclaimed artists in the Flora Glenn Candler Concert Series and Emory Coca-Cola Artists-in-Residence series to presentations by more than a dozen Emory music ensembles. The Schwartz Center for Performing Arts opened in February 2003 and houses the Dance Studio, Theater Laboratory and the 825-seat, state-of-the-art Cherry Logan Emerson Concert Hall.
The mission for the arts at Emory University is to provide a dynamic, multidisciplinary environment for the study, creation and presentation of the arts.
 
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