Award-winning director and cinematographer,Thomas Riedelsheimer (director of the acclaimed Rivers and Tides), takes us on a journey through a universe of sound with percussionist Evelyn Glennie. While exploring the role of deafness in Glennie’s music-making, Touch the Sound challenges our understanding of the senses and celebrates Glennie’s uncanny gifts. Believed to be the first full-time solo percussionist in the West, Dame Evelyn Glennie has performed with nearly all of the world's major orchestras in front of several presidents and world leaders. In concert, she plays up to 60 instruments including the gamelan, xylophone, marimba and timpani. Outside percussion, she is also adept on the great highland bagpipes. On stage, the percussionist performs barefoot in order to feel vibrations from her instruments, and often stands at 90 degrees to the audience so they can see the drum skins vibrating. Her personal collection includes 1,800 instruments, several of which Glennie designed herself, and she keeps percussion kits in six countries to facilitate her hectic touring schedule. Outside the world of classical music, Glennie has achieved fame for her collaborations with artists including Sting, Ray Davies, Fred Frith and Bjork. She is the vice-president of Hearing Concern and Deafness Research UK, and president of The Beethoven Fund for Deaf Children, which provides musical therapy units to schools for the deaf and partially-hearing across the UK. Evelyn's activities also include lobbying the Government on political issues; her consortium with Sir James Galway, Julian Lloyd Webber and the late Michael Kamen successfully led to the government providing £332 million towards music education.
“A feast for the senses.” New York Daily News
“Beautifully shot and filled with gorgeous music.” Chicago Tribune
“Rewarding, thought-provoking and subtly visceral.” Hollywood Reporter
“Potent and Imaginative!” Los Angeles Times
“Glennie… is a remarkable musician by any measure. Working with the legendary improviser Fred Frith, she proves exceptionally open to the experience of sound itself, not just its organisation into tunes, chords and rhythms. Few classical (or, for that matter, jazz or pop) musicians have the kind of imagination or awareness she and Frith display. Visually, the film is superb, beginning with a bravura coup de cinema: the camera pulls away from a close-up of a gong, Glennie steps in to play, and the camera continues to back rapidly through a huge deserted warehouse until, outside, it pans up to a thundery sky.”