Philip Glass’ Concerto Fantasy for Two Timpanists and Orchestra, composed in 2000 and transcribed for wind ensemble by Mark Lortz in 2004, is a significant addition to the repertoire of large-scale works for timpani. The work is rhythmically galvanizing, sonically alluring, and features virtuoso cadenzas for both soloists. Symphony No 4 ‘In the Shadow of No Towers’ is Mohammed Fairouz’s first major work for wind ensemble, and its inspiration is the provocative comic book by Art Spiegelman, written shortly after the terrorist attacks on September 11, 2001. Spiegelman himself has commented: “I’m moved by [this] scary, somber, and seriously silly symphony…I’m honored that the composer found an echo in my work that allowed him to strike a responsive chord and express his own complex responses to post 9/11 America. He emerges from the rubble with a very tony piece of high-brow cartoon music.”
Violinist Tim Fain has worked extensively with minimalist composer Philip Glass in performances and in the preparation of new pieces, and the most impressive result of their collaboration may be the Partita for solo violin (2010), a seven-movement suite written especially for Fain. Associations with Johann Sebastian Bach's violin partitas are inevitable, and it's clear that Glass has had them in mind while composing in what can be described as an aspirational, rather than a merely imitative, manner. Glass has for the most part avoided his customary ostinatos and static sections, and his use of broken chords only suggests counterpoint, rather than propulsive rhythmic patterns. He has also eschewed any direct references to Bach or Baroque style, yet the Partita's kinship with the older models is certainly felt, and Fain's playing has a lot to do with it. The ebb and flow of tempos and the expressive use of rubato give the Partita an introspective feeling, and the freedom of individual expression is quite removed from the locked-in, high-energy ensemble playing that was Glass' early trademark style.