Albums by Evelyn Glennie
ALBUMReflections (feat. Nico Muhly)Sound World and The Bristol Ensemble
ALBUMImmersive StoriesSue Verran, Chris Warner & Evelyn Glennie
ALBUMJoan Tower: Strike Zones, Small, Still/Rapids & Ivory and EbonyEvelyn Glennie, Blair McMillen, Albany Symphony Orchestra & David Alan Miller
ALBUMOpen BarrierJon Hemmersam, Asal Malekzadeh & Evelyn Glennie
ALBUMAlrich, Jenkins & Rorem: Mallet ConcertosEvelyn Glennie, City Chamber Orchestra of Hong Kong & Jean Thorel
ALBUMOut of the Silence: Orchestral Music by John McleodEvelyn Glennie, John McLeod, Royal Scottish National Orchestra & Holly Mathieson
ALBUMDouble CrossingsEvelyn Glennie & Michael A. Levine
ALBUMMirage? Concertos for PercussionEvelyn Glennie, Manitoba Chamber Orchestra & Anne Manson
ALBUMThe Core-tet ProjectEvelyn Glennie, Jon Hemmersam, Szilárd Mezei & Michael Jefry Stevens
ALBUMAltamira (Original Motion Picture Soundtrack)Mark Knopfler & Evelyn Glennie
Artist Biography
Scottish percussionist Evelyn Glennie aims to teach the world to listen. An international recording artist, Glennie has singlehandedly expanded the repertoire for percussion instruments associated with the orchestra. She’s the world's first full-time solo percussionist, commissioning over 200 pieces since 1985, the year the BBC broadcast the documentary A Will to Win, about the then-rising star. Born in 1965 in Aberdeen, Glennie was influenced by Scottish indigenous music and learned to play the piano as a child. Her hearing started to deteriorate when she was eight. Undeterred, she started playing in the percussion section of her school orchestra at 12, learning to feel the vibrations in her body. In 1982, she entered London’s Royal Academy of Music, where she met longtime percussion professor James Blades, a lasting influence. She made her BBC Proms debut in 1989, premiering John McLeod’s The Song of Dionysius. For Glennie, who usually performs barefoot, hearing is a specialized form of touch; true listening calls for an augmented sensory experience, not just passively letting sound reach your ears. The way her philosophy of sound translates in performance has been captured in more than 40 recordings, including the Grammy-winning Sonata for Two Pianos and Percussion by Bartók (rec. 1988) and a riveting account of contemporary composer Joseph Schwantner’s Concerto for Percussion and Orchestra (rec. 1997).
Hometown
Aberdeen, Scotland
Genre
Classical