He has been called the world's greatest living composer and a minimalist, but pinning Philip Glass down is like trying to bottle thoughts. He has done urgent soundtracks such as Koyaanisqatsi, reinvented opera and even bashed out a symphonic version of David Bowie's Low. But this is different again. In the late 1980s Glass was asked by African kora master Foday Musa Suso to collaborate on music for a new production of Jean Genet's The Screens. The results first appeared on album in 1992, but Suso and Glass are remodelling The Screens as a concert performance and a work in progress with new pieces.
Genet's play dealt with Algeria's struggle for independence from France, so we're treated to a revolutionary collage of music of the world, featuring everything from stark European classical music to French traditional sounds and Afro pop. The stage line-up, which includes flute and percussion, is probably one of the oddest ever seen at the Bridgewater. In African robes, Suso sits centre stage, a kora (a large, guitar-like instrument) on his lap. The combination of the waterfalls of beatific Afro notes and Glass's restrained but haunting playing really is extraordinary. In fact, the sheer scope, power and many textures of the music make a mockery of Glass's minimalist tag.
Within a five-piece, Alexander Balanescu (best-known for his Kraftwerk tribute, Possessed) forms the third component of a fascinating creative triangle. His stark violin adds the unmistakable atmosphere of post-war Europe. However, The Portrait also allows percussionist Yousif Sheronick to unveil his box of tricks, while flautist John Gibson is never far off with contrasting western and Arabic moods.
Unexpectedly, Glass is an amusing compere. He confesses that he hasn't actually seen the play in years and announces a world first - a "cosmic premiere" by God - of a performance featuring both European and African violin, which sounds like acid rock. Suso ends it with a defiant squawk, and everybody laughs. But, brilliantly, there are no clues as to where this performance will go next. Spring Waterfall is moving and mesmeric; and they leave us with a pop song, Cloudwalk, which sounds like the Police. Just another night, then, in the history of global fusion, Sting-tinged African classical.
At the Royal Festival Hall, London (020-7960 4242), tonight and the Salisbury Festival (01722 320333), tomorrow.
