an article on evelyn glennie's life in about 120-140 words.
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Throughout our century, the percussion has gained prominence and popularity as composers from Stravinsky to Bartok and Boulez shower attention on it as a source of fascinating rhythms. Yet its repertoire is still narrow, and only one percussionist thus far has managed to pursue a solo career. She is Evelyn Glennie. Already a celebrity in England and the subject of TV profiles, the Scottish-born Glennie made her local recital debut Friday night in Orchestra Hall.
Glennie's vaunted virtuosity and winsome personality, which first attracted notices during her student days at the Royal Academy of Music in the early 1980s, was amply evident for much of the hefty program that began and ended with transcribed verions of concertos for marimba and orchestra.
These two venerable American classics-James Basta's 1955 Concerto and Paul Creston's 1940 Concertino-show different early attempts at exploiting the marimba's melodic and rhythmic possibilities. The Basta indulges in Rachmaninov-esque ultra-romanticism and at times stoops to cocktail-lounge rhapsody; whereas the glissandi-laden Creston owes some of its suaveness to Poulenc and its happy-go-lucky disposition to Gershwin.
Glennie, playing shoeless, was all ferocious intensity in the Basta, neatly partnering the piano (played by longtime collaborator Philip Smith) in long waves of undulating passages.
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