Symphony No. 10 is the tenth symphony by the American composer Philip Glass. The work was commissioned by the Orchestre Français des Jeunes and premiered August 9, 2012, with Dennis Russell Davies conducting the Orchestre Français des Jeunes at the Grand Théâtre de Provence in Aix-en-Provence, France. The piece had its United Kingdom premiere July 31, 2013 at The Proms in Royal Albert Hall.
Of all the so-called minimalists working today, John Adams is the only one with any good ideas left. Witness this delightful release. The key to Adams's creativity is that he isn't bound by theoretical constraints on what "minimalism" should be. Century Rolls (1995) is a commission by Emanuel Ax, and it was inspired by the composer's listening to a CD recording of an ancient player piano.
Bruce Brubaker artistic skill and understanding of this music is beyond reproach and will thrill any fan of the collected composers work on this CD. The sound quality is outstanding as well. Bruce Brubaker has recorded two CDs on the Arabesque label in a continuing series exploring modern American piano music. The most recent, Inner Cities, was released in September 2003, and includes Brubaker's transcription of Pat Nixon's aria from Adams's opera, Nixon in China. The previous CD, Glass Cage , with pieces by Glass and Cage, was named one of the ten best releases of 2000 by The New Yorker magazine.
In terms of the scale of his compositions, John Adams' career is somewhat anomalous for a contemporary composer. While the usual pattern tends to be for a composer to begin a career writing smaller pieces (which have a far likelier chance of being performed) and then expanding to larger forms as his or her reputation grows, Adams (with very few exceptions) was writing large-scale operas and orchestral and choral works starting in the early '80s and didn't begin devoting himself to chamber music with any regularity until the mid-'90s.
Composer John Adams' album Road Movies contains five pieces that Adams' considers "travel music, (…) passing through harmonic and textural regions as one would pass through on a car trip." Indeed, during Leila Josefowicz's spirited and appropriately brusque reading of the "40% Swing" movement from the title work, one hears what sounds like a passing auto in the left channel. Is it mere coincidence or the album concept channeling onto the master tape?