Destroy: Songs From Liquid Days was probably the worst. Maybe I should just make it anything since the mid-70s.
I'm going to say classic for the early work despite his obvious faults. He was able to create a unique sound-world and approach to minimalism that was influential - probably more on pop than on the avant-garde actually. The mix of organ and reed timbres is appealing. The simple additive rhythmic patterns actually created interesting effects in a drone context. His collaborations with Ravi Shankar and pop stars were just appalling though.
― sundar subramanian, Thursday, 31 January 2002 01:00 (seventeen years ago) Permalink
Destroy: Powanaquatsi (the film as a whole... the soundtrack is, eh, decent).
Search: His quartets.
Destroy: Solo piano works.
― Sterling Clover, Thursday, 31 January 2002 01:00 (seventeen years ago) Permalink
you're combining it with reich's "music for eighteen musicians"
― Gage-o, Thursday, 31 January 2002 01:00 (seventeen years ago) Permalink
― Sean Carruthers, Thursday, 31 January 2002 01:00 (seventeen years ago) Permalink
― Jeff W, Thursday, 31 January 2002 01:00 (seventeen years ago) Permalink
― Curt, Thursday, 31 January 2002 01:00 (seventeen years ago) Permalink
Hm, I didn't know Willis was at Juillard back in the day. But I know
what you mean. I have a ton of stuff by Glass, back when I was way
into him, but I don't find myself listening to it all that much,
except for Low Symphony, Glassworks, Koyaanisqatsi, and Music for 12
Musicians. The first three probably being more of his accessible
― Todd Burns, Thursday, 31 January 2002 01:00 (seventeen years ago) Permalink
― michael, Thursday, 31 January 2002 01:00 (seventeen years ago) Permalink
I noticed the mistake in the earlier post, too, then made it myself.
Long day featuring Bio Midterm can be the blame for that one.
― philT, Thursday, 31 January 2002 01:00 (seventeen years ago) Permalink
― Clarke B., Thursday, 31 January 2002 01:00 (seventeen years ago) Permalink
― A Nairn, Thursday, 31 January 2002 01:00 (seventeen years ago) Permalink
Search: Glassworks, Dancepieces, North Star, Thin Blue Line,
remix of Aphex Twin's "Icct Hedral", his appearance with Mark Moore
and Paul Morley on The Late Show in 1989.
Destroy: 1000 Airplanes On The Roof (unlike North Star
this remains unredeemed in the neglected parental-home vinyl
collection), Powaqqatsi (strangely distressing to hear chunks
of this in The Truman Show) and all the other film work, 1990
― Michael Jones, Thursday, 31 January 2002 01:00 (seventeen years ago) Permalink
― Mr noodles, Thursday, 31 January 2002 01:00 (seventeen years ago) Permalink
― Andy M., Friday, 1 February 2002 01:00 (seventeen years ago) Permalink
― John Barrow, Sunday, 3 March 2002 01:00 (sixteen years ago) Permalink
― mark s, Sunday, 3 March 2002 01:00 (sixteen years ago) Permalink
― Andrew L, Sunday, 3 March 2002 01:00 (sixteen years ago) Permalink
― sundar subramanian, Sunday, 3 March 2002 01:00 (sixteen years ago) Permalink
― ethan, Sunday, 3 March 2002 01:00 (sixteen years ago) Permalink
― geeta, Sunday, 3 March 2002 01:00 (sixteen years ago) Permalink
― Mr. Barrow, Sunday, 3 March 2002 01:00 (sixteen years ago) Permalink
― Todd Burns, Sunday, 3 March 2002 01:00 (sixteen years ago) Permalink
― helenfordsdale, Sunday, 3 March 2002 01:00 (sixteen years ago) Permalink
also you are fun to read, which it has been
proved enlarges the reader's brain even
when they actually want it ensmallened like
"...f______ paragraph breaks..."? Tossing naughty language hither
thither isn't very nice. For shame. Besides, I read a phonebook the
other day, and it didn't have very many paragraph breaks.
Yes, Mister Rogers is an actual composer, among other good things,
but whether or not HE'S a classic or a dud isn't really the issue at
hand (classic). This question answering and exploring forum is
supposedly about Glass in particular, and it just seemed to me that
the thickness of his praise was making the criticism lean towards the
thin, so I thought I'd make a few critical observations on behalf of
those of us who may believe that he's not overly remarkable. Now I
realize that I may be going out on a limb with such an edgy thesis,
but what's life without risk? Meaningless and not very fun to boot,
that's what. Sure, I could be waxing poetic on the subject of erotic
scrimshaw, and I often do, but that would be all too easy. As a
music lover and fighter, what I really had a hankerin' for was a
knock-down drag-out no-holds-barred Glass-tussle. So thank you very
much and may the debate rage on (or, as the case may be, drone
monotonously on and on and on not unlike Glass's music) ad
― j.b., Monday, 4 March 2002 01:00 (sixteen years ago) Permalink
― Sterling Clover, Monday, 4 March 2002 01:00 (sixteen years ago) Permalink
― ethan, Monday, 4 March 2002 01:00 (sixteen years ago) Permalink
It would be an improvement, but only in the relative sense.
― Ned Raggett, Monday, 4 March 2002 01:00 (sixteen years ago) Permalink
"...stuck-up kids in highschool..."? The poeple who are the quickest
to accuse others of being arrogant are truly a dull and predictable
lot. And again, nothing to do with Glass. Although their are some
people who have not unreasonably observed that Glass's work tends to
be dull and predictable.
But anyway, the "you're stuck-up" finger pointing people's anti-
intellectual attitude and antics, um, how shall I put it, "belie"
their thin veneer of sophistication. Very thin. My guess is that
they tend to be 'Glass = classic' people more often than not, and, on
the whole are well educated in the well-certified and degreed sense
yet possessing only nominal measurable native intelligence. Near-do-
wells... Why else would such people immediately and aggressively
take the mere mention of the concept of intelligence so personally.
Their insecurity is painfully obvious.
Now there's an intriguing question. Is the music of Philip Glass
anti-intellectual in some way? Could be. It does seem to be
pretending to be intelligent, even though there are good reasons to
suspect that it isn't particularly. But than again, the folks who
make it painfully obvious that they are too emotional to engage in
reasonable discourse yet really REALLY want to pretend to be oh so
sophisticated would likely avoid that idea like bubonic plague.
Huh? What was the question? I CAN'T HEAR YOU. And the next
question is... It smells like religion. "Don't you be questionin'
MY God, you evil heathen..." Highly predictable indeed, and maybe
even a tad anti-intellectual.
And how could such a potentially interesting discussion be so
lacking? Perhaps there are too many little ponds with big fish and
too few big ponds with little fish. Oh well, maybe the situation
Why does glass need to be "intellectual" to be good? Can't he just make me happy, or calm, or produce things which are relaxing while I'm reading or working? What if he produced things that were good for screwing to? Wouldn't that be classic? Or what if he produced things that were great when you had something else to do/look at, ambient for operas? Because, in a way, he does. Cf. Einstein On The Beach & Au Revoir... (which I saw in the first run, and d-d-damn!)
― mark s, Monday, 4 March 2002 01:00 (sixteen years ago) Permalink
― Christine "Green Leafy Dragon" Indigo, Monday, 4 March 2002 01:00 (sixteen years ago) Permalink
I find some of his works to be quite pleasant. I would agree that
much of his material from the mid-seventies through the early
eighties has merit -- especially the works that ultimately let him
reach folks beyond the inner circles. And writing movie soundtracks
is a good choice for any composer who wouldn't mind expanding an
audience. For a while, his sound was somewhat novel, though there
were other folks doing similar things. But why did he appear to
purposefully arrest his own artistic development? What the heck
Here's a theory: Before his art was his living, he seemed to be
trying harder and having it pay off artistically, but after his art
became his living, I think he began to be less inventive. His
approach became more and more self-limiting. I mean, he began
writing music as if he were making clothing from only several or
possibly only two bolts of cloth. Want a 'new' composition? Maybe
an opera? Grab a bolt, pin the pattern down, and cut around the
pattern. Frankly, he's not really as prolific as he seems. It's not
that different from what many composers do, but he's drawing from
such narrow sources, it just seems overly and un-artistically
synthetic and contrived.
And this choice of artistic direction is suspiciously like that of
the 'stripe' painters of approximately the same period and their ilk,
or of various other one-trick pony types from many artistic
disciplines. Like so many others, in an age of briefer than ever
attention spans and soundbite mentalities (its a cliche, but its
true), he found that if he stuck to those peculiarly narrow 'bolts of
cloth', he could be accepted, and make a decent living.
It's not all that far-fetched. And, who knows, perhaps he'll create
some new material someday that defies those observations. I'm only
suggesting that success had a negative effect on his art. If it
hadn't, maybe Glass WOULD be a classic. But success never spoils
A certain amount of frission has been lost since then, as the landscape shifted under his feet -- I'd characterize Glass' career since roughly Einstein as trying to rediscover an alternate spiritualism outside of the western cannon, with varying degrees of success depending on both his incorporative ability and the extent to which that which he seeks to incorporate is total crap.
In some ways, the most important thing to recognize about glass IS his range, because it isn't restricted to the canon, but trying to redefine it -- witness his Bowie symphonies, his collabs with bryne and vega, the euro-12-tone touches which he treated with the SAME attitude in Les Infants... &c.
― Sterling Clover, Tuesday, 5 March 2002 01:00 (sixteen years ago) Permalink
But he's so astoundingly easy to imitate and even counterfit -- a
strange but useful and fun musical game often played by the musically
agile. All sneakiness and legal issues aside (he's a celeb, and this
was 'satire'), I once witnessed a 'premier' of 'his' work that was
entirely convincing, and the attending fans loved its pants off quite
gushingly. It was kind of sad. But it was a fascinating social
experiment if nothing else. Thus I can't help feeling that his style
is terribly lacking in true and subtle idiosyncracies. And that, to
varying degrees, his fans are strangely nondiscriminating. Is the
emperor wearing no clothes? I see it as a distinct possibility.
And does that lack of subtle idiosyncracies (ones that are not as
easy to parrot or extrapolate by people who have the ears to 'see'
EXACTLY what Glass is doing) put his music into the 'dehumanizing'
camp? Yes, quite. And that's a legitimate artistic motivation.
Many of the 12-tone composers coming out and away from the
pointlessness of world war I were exploring a similar creative
impulse. And whether one enjoys listening to 12-tone music or not,
it can be safely said that it was radical and not commercial. Glass
is not a radical. And I don't believe that he ever was. Well, not
lately anyway. Glass's music is extremely conservative.
― j.b., Tuesday, 5 March 2002 01:00 (sixteen years ago) Permalink
'Einstein' sure is remarkable though, the main themes are totally beautiful (far more angular and weird than the dippy schubert mode he went for later) and the shifting rhythms keep knocking you off guard, it's not background music, it demands active listening... I wonder what his reputation would be like these days if he'd stopped at that exact point, but hey then he'd probably still be a starving cab driver, wouldn't be fair to him.
There's still some rhythmic variation in 'Satyagraha' but a lot of it goes for straight toe-tapping pulsation. By 'Glassworks' the stacks of rhythm have gone entirely missing, it's nothing but those doodley doodley arpeggios, and bingo: commercial breakthrough, and no looking back. Since the 80's, less pounding, increasingly smoothed out, simple bland loveliness. Almost too easy to criticize.
No one should write off Glass entirely before hearing 'Einstein on the Beach', it's still incredible. The original '79 Sony recording is still better, the 90's re-recording has better production values and tighter, faster performances but loses too much, nothing can touch the farfisa organ arrangements or the vocal performances on the original. I think 'North Star' is still lovely. Of the 80's stuff, I still love the soundtrack to 'Mishima', especially the sections for string quartet. It was 'Solo Piano' that convinced me to stop buying the stuff and the few things I've heard since then make me kind of angry.
― Jon Leidecker, Wednesday, 5 February 2003 20:38 (sixteen years ago) Permalink
― mark s (mark s), Wednesday, 5 February 2003 20:42 (sixteen years ago) Permalink
― JasonD (JasonD), Wednesday, 5 February 2003 20:54 (sixteen years ago) Permalink
― mark s (mark s), Wednesday, 5 February 2003 22:28 (sixteen years ago) Permalink
― Juan (Juan), Wednesday, 5 February 2003 22:42 (sixteen years ago) Permalink
"I've just flicked through the book so far, main revelation is that he once picked up Salvador Dali when working as a cab driver."
I wonder who was in the glove box
― Brian Eno's Mother (Latham Green), Monday, 6 July 2015 16:25 (three years ago) Permalink
The book is great. Really chatty, interesting and full of insights. Definitely a memoir rather than a full-blown autobiography and very selective as to what he puts in and what he leaves out. But I love the stuff about him being a working musician who very quickly got to grips with the economics of survival in 1970s New York, not just with his day jobs but through touring with his ensemble, playing his own music just like a rock band.
― anthony braxton diamond geezer (anagram), Monday, 6 July 2015 16:57 (three years ago) Permalink
― MaresNest, Thursday, 11 February 2016 22:44 (three years ago) Permalink
And incase anybody missed it.
― MaresNest, Thursday, 11 February 2016 22:45 (three years ago) Permalink
anyone ever seen Akhnaten performed live? I just pulled the trigger on a ticket to see it in late November since seeing Einstein was a transformative event in my music-seeing life and I've owned and loved the LP set for years, but I have no idea what kind of experience to expect.
― thos beads (jamescobo), Wednesday, 19 October 2016 05:17 (two years ago) Permalink
Yeah I saw it in London earlier this year, the same production as the one you'll see in LA. Should have posted about it at the time, it was totally spectacular and wonderful. And the jugglers!
― heaven parker (anagram), Wednesday, 19 October 2016 07:27 (two years ago) Permalink
holy wow, Akhnaten was stupid great; I may have liked it more than Einstein. the juggling was indeed jaw-dropping but the coolest bit to me was the alligator people (possibly because I was sitting in the upper balcony looking down, which was probably the optimal perspective). I really regret only going once.
― thos beads (jamescobo), Sunday, 27 November 2016 06:51 (two years ago) Permalink
Should be noted that his score for the recent The Crucible Bway revival was amazing and made me wish more plays had that kind of constant background scoring.
― ヽ（´ー｀）┌ (CompuPost), Sunday, 27 November 2016 16:04 (two years ago) Permalink
So the score for Glass' Music In Eight Parts (1970) sold at Christie's recently, it was never recorded and was abandoned by Glass pretty much at once as he moved on to different systems of working that resulted in Music In Twelve Parts, it remained unseen until Christie's put scans of it up on their website for the auction and this (slightly crude) rendering has just appeared on Youtube.
― MaresNest, Sunday, 1 October 2017 10:05 (one year ago) Permalink
― MaresNest, Sunday, 1 October 2017 10:07 (one year ago) Permalink
"Music with changing parts" (1970) from Carnegie Hall last Friday. Available to watch until May 17.
― Hans Holbein (Chinchilla Volapük), Wednesday, 21 February 2018 19:06 (one year ago) Permalink
Off to see Satyagraha at the ENO next week.
― the word dog doesn't bark (anagram), Wednesday, 21 February 2018 19:22 (one year ago) Permalink
I saw that last weekend, I wasn't sure if three hours of Glass would work for me but both visually and musically it's never less than transfixing.
― Matt DC, Wednesday, 21 February 2018 21:26 (one year ago) Permalink
This is probably a long shot but does someone out there have a rip of the Virgin Records 'Music In Twelve Parts' that I could have?
I think it's just the first couple of parts that actually are on the rekkid.
― MaresNest, Friday, 23 March 2018 21:13 (ten months ago) Permalink
Seconded. I only have the re-recording and have always wanted to hear the original. It’s definitely been on CD but not in print these days
― when worlds collide I'll see you again (Jon not Jon), Friday, 23 March 2018 23:19 (ten months ago) Permalink
Einstein touring Europe from Nov and into 2019, in a somewhat compressed format with no staging and Suzanne Vega reciting -
― MaresNest, Friday, 16 November 2018 22:26 (three months ago) Permalink
Saw him play solo a week ago and debut a new piece made for the Third Coast Percussion Ensemble (recording coming out in a few months).
During the onstage Q&A, he talked about how playing in and composing for his high-school marching band had a big effect on his work.
― ... (Eazy), Saturday, 17 November 2018 01:19 (three months ago) Permalink
XXP to myself and Jon - this went up on youtube today.
― MaresNest, Friday, 23 November 2018 00:04 (two months ago) Permalink
first two parts of 12 parts are some of my favorite pieces of music ever.
― 21st savagery fox (m bison), Friday, 23 November 2018 04:13 (two months ago) Permalink
damn i'm too late - removed by user.
― valet doberman (Jon not Jon), Tuesday, 4 December 2018 16:13 (two months ago) Permalink
But... there is a (complete for the time? About 2CD length) live 1981 performance out there which I downloaded and am listening to now and though the sound quality is definitely a B it slays
― valet doberman (Jon not Jon), Tuesday, 4 December 2018 23:45 (two months ago) Permalink
Anthony Roth Costanzo, "Liquid Days", dancer Ron "Myles Yachts" Myles
― niels, Wednesday, 5 December 2018 13:22 (two months ago) Permalink
another cool glass piece from NPR's 100 eoy trackshttps://www.youtube.com/watch?v=lmEpJh9u_0w
― niels, Thursday, 6 December 2018 16:57 (two months ago) Permalink
― ... (Eazy), Thursday, 6 December 2018 17:22 (two months ago) Permalink
I love some of his early '70s stuff - Music with Changing Parts, Music in 12 Parts, etc. - but I'm beginning to think he's largely full of shit.
― Josh in Chicago, Wednesday, 16 January 2019 02:16 (one month ago) Permalink
In what sense?
― grawlix (unperson), Wednesday, 16 January 2019 02:17 (one month ago) Permalink
In that his stuff isn't really that interesting, mostly coasting on pretty simple ideas, and that he doesn't seem particularly interested in challenging himself or his listeners. I don't know, maybe I'm not qualified enough to say.
― Josh in Chicago, Wednesday, 16 January 2019 04:17 (one month ago) Permalink
Freelance reviewer Joe Banno liked Glass' latest effort live:
Philip Glass continues to intrigue. Glass’s Symphony No. 12 — which received its world-premiere performance by the Los Angeles Philharmonic at Disney Concert Hall in Los Angeles on Thursday — possesses all of the composer’s trademark noodling arpeggios, hiccupping syncopations and hieratic brass fanfares. But the symphony form has always inspired Glass to transcend these minimalist formulas and find thrilling worlds of orchestral (and, as here, vocal) color.
With its prominent organ part — the Disney Hall pipe organ sounding splendid in James McVinnie’s hands — the work’s scoring suggests the sound of the 1970s-era Philip Glass Ensemble blown up into a full-scale French organ concerto: part rollicking fairground calliope, part Grand Guignol spectacle. The Los Angeles Philharmonic, which commissioned the piece, was conducted with dedicated warmth by John Adams and played this work as if the musicians had known it all their lives.
Symphony No. 12 is Glass’s third symphony based on material from David Bowie and Brian Eno’s “Berlin Trilogy” of albums. But unlike the purely orchestral “Low” and “Heroes” symphonies, based on Bowie’s melodies, Glass resets Bowie’s elusive, stream-of-consciousness lyrics from the “Lodger” album to music of his own devising, in something akin to a symphonic song cycle. Glass’s lyric setting has often felt straitjacketed by attempts to wedge words into his repetitive musical patterns. In Symphony No. 12, Glass creates a freer, more expressive singing line and, rather than employing an operatic soloist as usual, has given the vocal part to West African pop star Angélique Kidjo.
― curmudgeon, Wednesday, 16 January 2019 04:50 (one month ago) Permalink
Those are fair criticisms imo, Josh. I'm not even sure if he would claim that he has wanted to challenge himself or his listeners in decades.
― Locked in silent monologue, in silent scream (Sund4r), Wednesday, 16 January 2019 04:58 (one month ago) Permalink
He's a solid songwriter and has a knack for pathos-laden melodies. Whether that's enough is debatable, but I happen to like it every now and then.
― pomenitul, Wednesday, 16 January 2019 10:43 (one month ago) Permalink
I must admit, I've never really thought of Glass as a songwriter, Songs from Liquid Days (a comparatively minor work) apart. As for simple ideas, I would say that Akhnaten and Satyagraha are as multi-faceted as 20th century opera gets, and aren't exactly unchallenging given that they are sung in (mostly) ancient Egyptian and Sanskrit respectively.
― the word dog doesn't bark (anagram), Wednesday, 16 January 2019 12:48 (one month ago) Permalink
Those are from 1979 and 1983. He definitely did challenging things back then but I think he has been largely coasting for a long time at this point, which, OK, can work at times.
― Locked in silent monologue, in silent scream (Sund4r), Wednesday, 16 January 2019 13:07 (one month ago) Permalink
Sorry, I should have specified that I was thinking of his output from the 1980s and beyond. His Bowie symphonies also reflect this more song-oriented approach (very broadly speaking, of course – it's the melodies that strike me as systematically songful in his later years) or his fifth string quartet, which I very much enjoy. It's just a hunch, though.
― pomenitul, Wednesday, 16 January 2019 13:47 (one month ago) Permalink
Funny, I think it was hearing about a return to the Bowie/Eno stuff that set me off, more or less. The first time he did it it really felt like piggybacking on their names (iirc, they were even on the album cover with him). Then I thought, more of that? Do we need that? I guess he's been pretty busy, but I've not really encountered much of his stuff that was anything more than pleasant. As opposed to his erstwhile rival Steve Reich, whose stuff has imo always been edgier and more challenging. But again, I'm not going to pretend to be qualified, there's a lot of music that I've missed. Most of it, probably. I don't know, Philip Glass always reminded me of someone like Salman Rushdie, rightly lauded early on but then kind of coasting once he crossed over to the broader pop culture.
― Josh in Chicago, Wednesday, 16 January 2019 13:57 (one month ago) Permalink
I agree he has not been surprising in a long time but I think he just has this zone he carved out which he now inhabits and which gives him pleasure to inhabit and which frequently gives me pleasure, sometimes deeply so, to hear, and I don’t nec need it to be on him to be the guy pushing the front of the wedge at this point. He writes too much and too consistently, yes, but his stuff still sounds thoroughly personal to me. I prefer him and Riley to Reich. (I’d say i like to hear Reich-influenced music more than I like to hear Glass-influenced music but when it comes to the original articles I like glass more). Symphony 8, several of the concerto series, and his film work have all been high water marks of his last couple decades imo. Have barely listened to the Berlin ones, will try to revisit.
― valet doberman (Jon not Jon), Wednesday, 16 January 2019 14:18 (one month ago) Permalink
I agree he has not been surprising in a long time but I think he just has this zone he carved out which he now inhabits and which gives him pleasure to inhabit and which frequently gives me pleasure, sometimes deeply so, to hear, and I don’t nec need it to be on him to be the guy pushing the front of the wedge at this point.
Exactly. There are plenty of composers out there if you want to be "challenged" all the time. When I want to listen to Philip Glass-style music, I am glad to know that there's a vast library of it available to choose from.
― grawlix (unperson), Wednesday, 16 January 2019 14:40 (one month ago) Permalink
That's interesting, pomenitul. I had assumed you were being cheeky. Not only do I not think of him as a songwriter, for the most part, but I've never thought of melody as his strong suit. I'd probably like more of his later work if I felt like there were more captivating melodic lines. Maybe I should listen to the 5th string quartet.
― Locked in silent monologue, in silent scream (Sund4r), Wednesday, 16 January 2019 14:52 (one month ago) Permalink
I do think some of his scores work well as film music, btw, esp The Hours. I still love Reich's work, and I like other artists who mostly keep working their own niche, so I'd probably need to work to articulate what it is that gets me to rmde about Glass at times. I think part of it is just the "writes too much and too consistently" thing.
― Locked in silent monologue, in silent scream (Sund4r), Wednesday, 16 January 2019 15:03 (one month ago) Permalink
the hours, the illusionist, taking lives, and (parts of) visitors are glass film scores that have kicked ass in the post-Kundun era imo
(visitors album really too long though)
― valet doberman (Jon not Jon), Wednesday, 16 January 2019 15:08 (one month ago) Permalink
Speaking of The Hours, 'The Poet Acts' is almost Schubertian in its melancholy. Likewise the violin concerto's second movement. More to the point, I also have fond memories of his Songs and Poems for solo cello.
― pomenitul, Wednesday, 16 January 2019 15:22 (one month ago) Permalink
dud, i was at a concert in the early eighties and his minimal euphony music really got on my nerves. concerning minimal music i prefer steve reich.
― Ich bin kein Berliner (alex in mainhattan), Wednesday, 16 January 2019 15:25 (one month ago) Permalink
And is it just me or does the 'Opening' of Glassworks sound better under Jeroen van Veen's fingers?
― pomenitul, Wednesday, 16 January 2019 15:26 (one month ago) Permalink
Steve Reich is the 'prestigious' pick among the trinity (take that, La Monte Young) of American minimalists and I can definitely hear why. But I still prefer Glass's neo-Romantic sappiness, at least when he gets it right.
― pomenitul, Wednesday, 16 January 2019 15:29 (one month ago) Permalink
I'd also like to briefly hijack this thread and remind everyone that if you're a fan of minimal piano pieces then you need Hans Otte's Das Buch der Klänge in your life:
― pomenitul, Wednesday, 16 January 2019 15:35 (one month ago) Permalink
The link appears to be broken, perhaps because it refers to a playlist. Just search 'hans otte das buch der klänge henck' on YT and it should come up (Herbert Henck's recording surpasses Hans Otte's own imho).
― pomenitul, Wednesday, 16 January 2019 15:37 (one month ago) Permalink
there's a recording on naxos of that right
― valet doberman (Jon not Jon), Wednesday, 16 January 2019 15:47 (one month ago) Permalink
Not to my knowledge. The Henck recording is on ECM, whereas Otte's own is on Kuckuck and Celestial Harmonies.
― pomenitul, Wednesday, 16 January 2019 15:51 (one month ago) Permalink
Glass sometimes teeters on the brink of self-parody/kitsch to me, possibly because of the weak/easy melodies, possibly because his music does often work better as a backdrop for movies and documentaries. I'll try to explore some of his more recent stuff, since I'm so out of touch. Curious that Reich, Adams et al. never got into Hollywood, to the best of my knowledge. Who are Glass's other crossover peers, Gorecki? Part?
― Josh in Chicago, Wednesday, 16 January 2019 15:52 (one month ago) Permalink
I guess so, yeah. And precisely for the reasons you describe. I do think Pärt is a far more interesting composer than his supposed peers, though. Aside from the famous 3rd symphony, I find Górecki insufferable both as ear candy and as a Bearer of Grave News.
― pomenitul, Wednesday, 16 January 2019 16:00 (one month ago) Permalink