Scottish drummer and percussionist Evelyn Elizabeth Ann Glennie gives more than 100 performances a year all over the world to universal critical acclaim from the toughest of reviewers in many of the world's most esteemed publications.
The fact that Evelyn has performed with virtually all of the world's finest orchestras and greatest conductors in the most famous concert halls only proves that Evelyn is one of the world's top international concert soloists and the most in demand solo percussionist in the world.
What takes Evelyn Glennie a step beyond the ranks of the elite is that she combines her superb technical abilities, a profound appreciation of the visual elements of percussion along with her astonishing musicality to create performances of such stunning vitality that they almost constitute a new type of performance. To this end Evelyn Glennie has commissioned over one hundred new works for solo percussion from many of the world's most talented composers.
Despite all the advice to the contrary, Evelyn Glennie is not only the first person to successfully create and sustain a full-time career as a solo percussionist in the history of classical music but is redefining the goals and expectations of percussion students, orchestras, concert promoters and the general public the world over.
Evelyn Glennie's recording career has been as illustrious as her performing career. Evelyn's first CD, a recording of Bartok's "Sonata for two Pianos and Percussion" won her a Grammy in 1988. Rather than an ambition achieved, winning the most highly regarded recording prize in the world was only the first step for Evelyn.
Subsequent solo recordings have earned a further two Grammy nominations, one of which won in 2002 (Bela Fleck collaboration for Sony Classical), a Classic CD Award and great critical acclaim.
Evelyn Glennie's twelfth solo CD, Shadow Behind the Iron Sun (BMG Records) was based on a radical concept and has once again questioned people's expectations. Despite working a relentless schedule Evelyn is in constant demand to release new recordings, seventeen so far, the most recent being 'Oriental Landscapes' (BIS) and 'Fractured Lines' by Mark-Anthony Turnage (Chandos).
Outside of actual performance Evelyn Glennie excels in everything to which she turns her hand. From writing a bestselling autobiography, Good Vibrations, to hosting two series of her own television programs for the BBC.
Evelyn Glennie regularly appears on television across the world, most recent appearances include The David Letterman Show (USA), Sesame Street (USA), The Michael Barrymore Show (UK) and presenting and performing on Songs of Praise (UK). Evelyn's Commonwealth Games Festival Concert was broadcast on BBC4 and she is currently collaborating with the renowned film director Thomas Riedelsheimer on a new film.
Evelyn Glennie composes and records music for film and television. As in her performance career, Evelyn has already made a significant impact. Evelyn's first foray into the area of TV commercials resulted in such innovative music that it was subsequently paraphrased by others. Her first high quality drama produced a score so original she was nominated for a British Academy of Film and Television Arts awards (BAFTA's); the UK equivalent of the Oscars.
Evelyn Glennie has already achieved virtually every accolade or ambition of which any aspiring musician could possibly dream. In 1993 at the age of 27, Evelyn was awarded the OBE (Officer of the British Empire) for her services to music. Throughout all of this Evelyn still retains the same level of drive and determination and is currently studying for her Psychology and Law degrees through the Open University.
Talking with Evelyn, either privately or on air, is a humbling experience. Seeing how unaffected she is by her amazing accomplishments is enough to make you question your understanding of what is possible. Evelyn Glennie herself though, feels she has barely scratched the surface. She is still full of drive and enthusiasm and is brimming with ideas to improve the experience for the audience and redefine the very format of live performance itself.