"Though he may not be a piano superstar, Bruce Brubaker is clearly a musician to watch. On this recording of solo piano works by Philip Glass and John Cage, Brubaker somehow shifts between these two very different modernist composers to create a seamless disc of mesmerizing keyboard music. While Glass's own playing is often precise and austere, Brubaker is a different beast altogether. With him, we get a hint of Impressionism and a sense of contemplation with each note. The five parts of Metamorphosis are given shades of melancholy, along with frenzy; on the expansive "Mad Rush," Brubaker goes wild where he has to, but always returns to the piece's calming, sweet center. The piano music of John Cage is limited to just two cuts--"A Room" and "Dream"--but they, too, are hauntingly beautiful (especially the latter, longer piece). For anyone who has grown tired of Philip Glass's recent electronic keyboard forays or the ubiquitous prepared-piano CDs of John Cage, Glass Cage will sound like a fresh and sublime homecoming to two musical mavericks. Recommended."

"Philip Glass' one act chamber opera In the Penal Colony was composed in 2000. The libretto is by Rudolph Wurlitzer and based on a story by Franz Kafka."

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The Glass House was an American R&B/soul group from Detroit, Michigan. The Glass House was an assembly of house musicians put together by Holland-Dozier-Holland for their Invictus Records label in 1969. The group was led by Ty Hunter and included Scherrie Payne, sister of soul singer Freda Payne. The group released two full-length albums and had a string of chart hits through 1972, but once their popularity had dried up, Invictus dissolved the group. Shortly thereafter, Ty Hunter and Scherrie Payne joined the Motown roster. Ty joined the singing group The Originals. Scherrie Payne joined The Supremes.
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"The origins of Philip Glass' Voices, for didgeridoo and organ was specific: a commission from the city of Melbourne, Australia, in 2001. Yet the instrumental combination works so well that it seems almost foreordained, and Glass went on to write further music for the soloist here, Mark Atkins. In this performance, the didgeridoo and organ tracks were recorded separately, in Australia and upstate New York, respectively, and in Glass' metronomic world this works well enough. Yet one hopes that this release on Glass' Orange Mountain Music label is enough to spur future live performances with both players in the same room. The addition of the didgeridoo to the relatively homogeneous texture of Glass' organ writing is dramatic, but it doesn't disturb the basic shifting fields of the composer's music. It just deepens their color and variety in an immensely attractive way."