Chen Yi's Percussion Concerto, which was written for Glennie, immediately reminds me of John Adam’s "The Chairman Dances", but soon enough, the concerto becomes its own work. Typically, or stereotypically, concerti pit the solo instrument against the orchestra—the soloist developing the thesis, the orchestra answering with its antithesis, then either an outright convincing “argument” by the soloist or, as is the usual occurrence, both solo and orchestral arguments resolving into the synthesis. However, with this concerto, one gets the feeling that when the orchestra butts in on the soloist, or vice versa, the jarring effect exclaims, “Hey, what are you doing on my stage?” rather than “That might be your argument, but here’s mine.” In other words, but rather simplistically, at the beginning, the soloist and the orchestra play against each other, then evolve into playing off each other, and then play together. The parts for soloist and for orchestra in this Percussion Concerto appear oddly juxtaposed.

The second movement, "Prelude to Water Tune", has Glennie performing some swooping sprechstimme vocals, mimicking those used in Chinese opera. Overall, something is seemingly missing from this work, and it isn’t the performance. One isn’t deeply drawn into this music. One doesn’t feel it, or experience it, but rather sits back listening, spectating, wondering what will come next—unfortunately, even after repeated listening.

Things change with Thea Musgrave’s "Journey Through a Japanese Landscape", which was given its first performance by Glennie. The work is separated into four movements, each corresponding to a different season. Each movement is based on season-specific haiku poetry. Particular instruments played by the orchestra and by the soloist convey specific meanings within the context of each season. Glennie, who plays impeccably, has the benefit of sensitive and responsive support by the Singapore Symphony Orchestra. For example, listen to the weaving of her marimba with the orchestral woodwinds and brass in building to an early crescendo in the Autumn (third) movement. An interesting note: the beginning of each movement starts with the rattling of different materials. Spring begins with bamboo, Summer with wood, Autumn with metal, and Winter with glass. At the end of the Winter, bamboo is heard to rattle again, indicating the return of Spring and the cyclical nature of birth, death, and rebirth.

Zhou Long, Chen Yi’s husband, has recently composed "Out of Tang Court". Glennie does not play in this work, and instead, a trio of able musicians handles percussion and the Singapore Symphony Orchestra successfully supports them. The work uses solo instruments whose origins date from the Tang Dynasty. This visceral music should appeal to anyone who finds favor with Bartok’s The Magnificent Mandarin. According to the liner notes, the piece is divided into two sections. Whereas the first section begins serenely and “respectfully” with instrumentation reflecting the solemnity and refinement of the court (as played on the ancient Chinese instruments pi-pa, er-hu, and gu-zheng), the second part works at bridging the gap between Western and Eastern instruments into a clangorous common ground. This music well-performed—in fact, the playing of the orchestra on this disk is quite idiomatic—and the orchestration is adept at melding Eastern and Western musical influences.

The "Fantasy on Japanese Wood Prints" by Alan Hovhaness, reflects the travels of Hovhaness throughout Asia. An ethereal ostinato of high-pitched strings seems to evoke “otherworldliness' rather than serenity. Perhaps this is appropriate as Hovhaness was very much taken with Japanese art and culture; that Japan was his “other” as opposed to the "world” he lived in, in the West. Speculation I grant you…."The Fantasy on Japanese Prints" comprises sound images that were inspired by three ancient wood block prints, linked together by the nearly constant high string ostinato in the first and second section. Indeed, I was reminded of "Pictures at an Exhibition" (Moussorgsky) before being influenced by the liner notes. Special attention must be given to the liner notes written by Marc Rochester; they are helpful in that they delve into the intent of the each composer and his or her work on this disk. Recording is excellent, with separation of the sound field wide and encompassing.

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