I've commissioned a new work from American Composer Philip Glass--It's called Partita for Solo Violin, in seven movements. The piece is almost completed and so far, I think it's really some of his best writing--so dark, lyrical, and melodic. The piece will have its US premiere in New York City at Symphony Space as part of Portals.

Portals:
A full length, multi-media evening featuring the premiere of "Partita for Solo Violin," by Philip Glass - based on Book of Longing. In an onstage dialogue that interweaves video, electronics and dance with music, Portals is an exploration of the human longing for connection in the digital age, guiding us through the failures and triumphs of new portals of relationship, our corporeal and electronic present and future. The new work for Fain is the evening's centerpiece, embraced by existing pieces by Aaron Jay Kernis, Nico Muhly and Kevin Puts, and includes spoken word - the poetry of Leonard Cohen and other contemporary American writers - and choreography by Benjamin Millepied.

News:
I've just received the 6th movement from Philip, and the piece is almost finished!

Listen to the first movement of Partita for Solo Violin by Philip Glass, "Opening" [click to listen]

US Premieres of Portals:
Sept 24 Symphony Space, New York City, NY
Oct 5 + 6 Kaneko Foundation, Omaha, NE
Oct 9 The Broad Stage, Los Angeles, CA
...and more concert dates to be announced

European Premieres of Partita for Solo Violin:
(as part of a "Duo" recital concert tour, performing with composer/pianist Philip Glass)
May 13 7pm, The Max at the Melkweg, Amsterdam, The Netherlands
May 14 8pm, Zeeuwse Concertzaal, Middleburg, The Netherlands
May 15 8pm, Zeeuwse Concertzaal, Middleburg, The Netherlands
May 17 7:30pm, ZKO Meisterzyklus, Tonhalle, Zurich, Switzerland
May 21 Teatro Jofre, Ferrol, Spain
May 24 8pm, Uppsala Konsert & Kongress, Upsalla, Sweden
May 27 Teatro Principal de Vitoria, Vitoria, Spain
May 28 Centro Cultural Miguel Delibes, Valladolid, Spain
May 29 Teatro Auditorio de Ciudad de Alcobendas, Madrid, Spain
Jul 8 Ravello Festival, Auditorium Oscar Niemeyer, Ravello, Italy
[more tour info]

A little History:
A few years back, I worked with Philip in a show called Book of Longing which was a song cycle he composed to the poetry of canadian singer/songwriter Leonard Cohen. There was this moment where the violin took center stage and I played this really fast and crazy little movement, which only lasted a couple of minutes, but made a big impression on me. Before this, Philip hadnt really even written much for violin, and here was this totally intense 2 minute piece that sounded like J.S. Bach played backwards! I kept coming off stage thinking 'that was so cool.....but I want a whole piece!'

"Composing is really a two part process," he once told me. "First I write down all of the notes,"--often he'll send me a score by email--and then what follows, the second stage, as composer and performer meet to perfect and fine tune the score: we'll often meet down at his studio and work phrase by phrase until we're both happy, and the music is in its final completed form.

There's a real intensity and urgency about everything Philip does--It's staggering how much music he writes--he's probably one of the most prolific composers I know. He told me once that he really doesnt sleep all that much....I wonder if that has something to do with it!

Critics already buzzing....and they've only heard a sneak peek.....

"Tim Fain [is] worthy of every honor and should be going on to a career of major importance in the future...Fain is fantastic. His technique and musicianship are impeccable...a master of his instrument. The unfinished (Glass) work was rich, colorful and quite beautiful, with moments of plaintive contemplation and others filled with long, luxurious phrases."
            June LeBell,  Observer  (Longboat Key, Fla) 

"Fain's recital was often dazzling, always risky, and unfailingly exciting, opening ears (and eyes). A handsome young man in charge of his instrument, Fain's strong technique delivered the "new Philip Glass," the composer of lyric and melodic gifts quite different from the purveyor of the metronomic repetition of motifs which characterized his early work..."
                                 Herald Tribune (Sarasota, Fla)

"The Glass piece definitely sounded like more of a look backward than what we may think of as typical Glass minimalism; one movement gave off an air of gypsy melancholy, another, a chaconne, seemed the most technically demanding, but Fain successfully negotiated it. I felt I could hear the violin breathe, like a living thing."                                         Sarasota Magazine