Pianist Paul Barnes performs Philip Glass inside Richard Serra Sculpture
University Communication
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05/02/2024
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Paul Barnes, Marguerite Scribante Professor of Piano in the Glenn Korff School of Music at the University of Nebraska–Lincoln, performed a special program of composer Philip Glass’ works inside “Greenpoint,” a sculpture by Richard Serra that is part of the Sheldon Museum of Art's collection. The performance pays tribute to the creative relationship between Glass and Serra, who died March 26. It kicked off the Lincoln Calling music and arts festival, presented by the Lincoln Arts Council. Glass once worked as an assistant for Serra after the two befriended each other in Paris in the early 1960s. Barnes has worked with Glass for 29 years, including two commissions and several transcriptions and recordings of his work. Learn more the performance here: https://news.unl.edu/newsrooms/today/article/barnes-to-perform-inside-greenpoint-for-lincoln-calling/
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- [00:00:00.500](bells ringing)
- [00:00:12.083]This is very exciting.
- [00:00:13.083]Look at that, first sight of keys,
- [00:00:14.500]and you guys are gonna move it around so it's straight?
- [00:00:16.833]Yeah, we'll get it.
- [00:00:17.666]No, you can play it.
- [00:00:19.083]I got this email from Darren Keen
- [00:00:22.083]who works with Lincoln Calling,
- [00:00:23.708]and he thought that a great way
- [00:00:26.375]to kind of honor Serra's, you know,
- [00:00:29.250]and Glass's relationship.
- [00:00:30.750]'cause Richard Serra just passed away, you know,
- [00:00:32.916]at the end of, at the end of March.
- [00:00:35.333]And he thought that we've got this glorious Serra sculpture,
- [00:00:39.041]Greenpoint, and what his crazy idea was
- [00:00:42.000]to put a grand piano
- [00:00:44.458]in the middle, inside the sculpture,
- [00:00:47.333]and that I would play a half hour program of Philip Glass.
- [00:00:50.458]I met Philip Glass right here in Lincoln, Nebraska
- [00:00:54.208]during my job interview in March of 1995.
- [00:00:58.166]And that started a trajectory of, you know,
- [00:01:01.083]we've had two world premier performances
- [00:01:03.375]of major works that Glass wrote.
- [00:01:06.083]It's such an interesting project
- [00:01:07.583]because nobody knows what a piano is gonna sound like
- [00:01:11.250]in that unbelievably unique space.
- [00:01:13.375]Ah!
- [00:01:15.000](dramatic piano music)
- [00:01:26.833]Oh, yeah!
- [00:01:30.000](Paul laughing)
- [00:01:31.375]What I also love about the work that I've done with Glass
- [00:01:33.958]is that his music transcends
- [00:01:36.791]so many cultural borders.
- [00:01:39.583]And people that would never go to a classical music concert
- [00:01:42.541]will come hear me play Philip Glass,
- [00:01:45.666]and it gets them interested in the piano
- [00:01:47.625]and all kinds of things.
- [00:01:49.041]So what you are going to hear today
- [00:01:51.500]is a world premier performance
- [00:01:55.375]of a new edition of "Monsters of Grace."
- [00:01:58.583](audience applauding)
- [00:01:59.875]I wanted to pick pieces
- [00:02:01.000]that had a relatively slow meditative harmonic rhythm,
- [00:02:04.041]which happens a lot in Glass.
- [00:02:06.333]So anyway, this is,
- [00:02:07.583]this is what the whole recital will begin with,
- [00:02:11.083]and I think it sounds a little bit
- [00:02:12.416]like a prelude or an intro.
- [00:02:14.250]This is my transcription of "Monsters of Grace."
- [00:02:18.500](dramatic piano music)
- [00:02:50.541]And then the second piece is such a meaningful piece for me
- [00:02:53.416]because when I met Philip Glass
- [00:02:54.750]flying out of Lincoln, Nebraska, you know,
- [00:02:57.083]as part of my job interview,
- [00:02:58.583]this is the piece of music that he gave me,
- [00:03:00.875]and he said, "Paul, why don't you,"
- [00:03:02.083]you know, I told him I was playing in New York
- [00:03:03.958]the following year,
- [00:03:04.916]and he said, why don't you play this piece?
- [00:03:06.458]My music director transcribed it,
- [00:03:08.250]Michael Riesman, and I said, oh, this is great.
- [00:03:11.750]So this is really what began the whole creative process.
- [00:03:15.375]It's "Satyagraha."
- [00:03:16.375]It's from the conclusion, act three.
- [00:03:18.625](dramatic piano music)
- [00:03:46.125]So I'm gonna play this as the third piece,
- [00:03:48.208]"Orphee and the Princess,"
- [00:03:49.375]and it features what I've affectionately called
- [00:03:51.833]the love progression.
- [00:03:52.875]So when you hear this, it's the B flat
- [00:03:56.625]and then D flat is what makes you fall in love
- [00:04:00.666]to whoever you happen to be looking at.
- [00:04:02.708](melodic piano music)
- [00:04:22.041]When Philip Glass published his "Etude" several years ago,
- [00:04:25.750]they just took the piano world by storm.
- [00:04:27.833]And so there've been so many complete recordings
- [00:04:30.500]and I picked one, Number 16,
- [00:04:33.041]which is on my new "Generations" recording
- [00:04:35.250]that came out I think back in 2015.
- [00:04:38.541]And again, it's got a very slow harmonic rhythm.
- [00:04:41.000]It's so unbelievably expressive.
- [00:04:43.500](dramatic piano music)
- [00:05:03.416]The final piece that I'm going to do,
- [00:05:05.458]I decided to pull out all the stops.
- [00:05:06.958]This is probably the most difficult transcription
- [00:05:09.125]that I've ever done.
- [00:05:09.958]It takes tremendous amounts of energy,
- [00:05:12.041]fingers and things like that.
- [00:05:13.583]This is "Dance" from "Akhnaten."
- [00:05:16.791](dramatic piano music)
- [00:05:48.208](audience applauding)
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