Maya Beiser + Jeffrey Zeigler + Clarice Jensen + Andrew Yee + Paul Wiancko
Maya Beiser x Philip Glass in Concert
All music composed by Philip Glass, arr. by Maya Beiser
Piano Etude No. 2
Piano Etude No. 5
Selections from Naqoyqatsi
Music in Similar Motion
Cellist, arranger, and producer Maya Beiser joins with a group of all-star cellists to perform Maya Beiser x Philip Glass. Drawn from her latest album, the immersive performance brings together an astounding group of avant-garde cellists – Jeffrey Zeigler, Clarice Jensen, Andrew Yee, and Paul Wiancko – to create a multi-layered sound sculpture, exploring and unveiling new dimensions in some of Philip Glass’s most powerful and achingly beautiful works.
Maya’s multi-cello arrangements include Glass’s Piano Etudes Nos. 2 and 5, Mad Rush, Music in Similar Motion, and selections from Naqoyqatsi, part of Glass’s Qatsi Trilogy with filmmaker Godfrey Reggio.
Maya says, “In making this album, I searched for layers of sound that might reveal something new about Glass’s ingenious creative power. I was thinking about stratum, the layering that occurs in most sedimentary rocks formed at the Earth’s surface. I imagined the layers of my cello becoming porous and Glass’s music flowing vociferously through each layer, like lava, endlessly creating new patterns, expanding into the landscape. For me, recording a solo album is an introverted, solipsistic process. I go inward and build the sound from within, building my cello’s layers one at a time. In the live performance, I wanted to create a shared communal experience, to expand that powerful communion that enfolds between myself and the audience. I reached out to some of the most brilliant artists/cellists I know, wanting to create another communion between the five cellists performing. It’s a different kind of magic. It’s a dialogue that allows for multiple journeys to happen at once.”
Music © Dunvagen Music Publishers Inc. Used by permission.
“The adventurous Ms. Beiser has been called the ‘cello goddess,’ which is not hyperbole: She summons from her instrument an emotional power so stirring that even the most stoic audience members risk turning into sobbing sacks of flesh.”
– The New York Times