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Dame Evelyn Elizabeth Ann Glennie, [1] CH, DBE (born 19 July 1965) is a Scottish percussionist. She was selected as one of the two laureates for the Polar Music Prize of 2015. Early life
Touch the Sound: A Sound Journey with Evelyn Glennie is a 2004 German documentary film directed by Thomas Riedelsheimer about profoundly deaf Scottish classical percussionist Evelyn Glennie. [3] In the film Glennie, who won a Grammy Award in 1989 , [ 4 ] collaborates with English experimental musician Fred Frith and others, and explains how she ...
The track features performances by Alex Trimble (lead singer and guitarist of Two Door Cinema Club), percussionist Dame Evelyn Glennie, the Dockhead Choir conducted by Mag Shepherd, Only Men Aloud male voice choir, soprano Elizabeth Roberts, and Esme Bronwen-Smith (co-writer with Rick Smith of the soprano and choral score). [3]
Altamira is the ninth soundtrack album by guitarist Mark Knopfler, and the first with percussionist Evelyn Glennie, released on 1 April 2016 for electronic download via iTunes and Amazon.com, and was released on CD 22 April 2016 on Virgin EMI Records. [1] The album contains music composed for the 2016 film Altamira, directed by Hugh Hudson.
A recording of Conjurer featuring Evelyn Glennie and the Albany Symphony Orchestra under David Alan Miller was released through Naxos Records on September 3, 2013. Glennie's performance on the album later won the 2014 Grammy Award for Best Classical Instrumental Solo. [6] [7]
Touch the Sound is a soundtrack by Scottish percussionist Evelyn Glennie of the 2004 documentary film Touch the Sound by German filmmaker Thomas Riedelsheimer about Glennie, who is profoundly deaf. It was released on CD in 2004 by German record label, Normal.
The Sugar Factory is a 2007 collaborative album by English experimental musician Fred Frith and Scottish percussionist Evelyn Glennie.It comprises material drawn from improvisations by Frith and Glennie recorded during the making of the 2004 documentary film Touch the Sound about Glennie, who is profoundly deaf.
The concerto was completed in 2003. Typical of Rorem's late-period orchestral works, the piece calls for no unpitched percussion instruments, which was stipulated by the composer before he agreed to write the concerto for Evelyn Glennie.