Mahler/Skizze

"It was an encounter with a composer of distinctive thought. It was an encounter, too, of course, with Mahler, but not in any predictable way. Where musical quotation so often introduces something more vividly present than its present-day context, Glanert’s allusions to Mahler – the sheepbells, the heavy harmony – were discreet wafts, coming through a window into something with its own personality. There was a distance here, but also a kindredness, since Glanert’s music has its own kinds of full expressive charge and becalming, parallel to Mahler’s, the former in a powerful cello part, the latter in a care for silence, for long spans, and for the natural sounds of water and knocked stones." (Paul Griffiths, The Times, 30 Jan 1992)