On Demand
Heart of Glass
Monday, September 29, 2008
Philip Glass has been making music for more than 40 years and he is one of the country’s best-known living composers. He has done operas, symphonies, and film scores, like those for "The Hours" and "The Truman Show," and has still managed to remain controversial. Glass joins us in light of the release of "Glass Box" — a 10-disc retrospective of his work.
Soundcheck Blog: Philip Glass, perennial lighting rod
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John,
Is Philip a Movie Fan? How did he like the Truman Show and Cassandras Dream? Did he like the way they turned out?
Also, he remade some Bowie Stuff. But I wonder what he thinks of Kraftwerk or Suicide. Pop bands they are pretty sophisticated and deal in repetition?
Dave
I will always associate Philip Glass to the amazing images of Koyaanisqatsi. It's been engraved into my brain. Every-time I hear anything Philip Glass, those images always pop up.
I can't think of anything less appealing than a Disney opera. Ub Iwerks created and drew Mickey Mouse as well as the earlier Oswald Rabbit. Ub said regarding Mickey its not what you've created its what you do with it. He revered Walt.
He did that amazing score for that Shiran Nishat movie. A Moroccan funeral? That was fantastic as well.
Dave
Did Gerard Mortier suggest Disney or was it a long-time interest of Glass's?
Oh, and will Glass reference Disney songs in his opera in any way?
What is it that is appealing about these individuals throughout Glass' compositional career? Disney (2012), Kepler (2009), Galileo, Einstein, Gandhi, Grant & Lee, etc.?
has Philip ever left a valuable musical instrument in a taxi (you should ask every musical guest this question)?
Great interview John. Amazing guest.
How about a download of this session with Maestro Glass?
>>RSM
Yes, it was an amazing hour, not just Philip Glass but also Tom Morello. As for Philip Glass and his being "entre chien et loup:" the reason for the expression is that wolves and dogs are related and, as it happens, mate and reproduce offspring that are equal parts of both, not one or the other, which clearly explains why you can't see the difference in the dark - and Glass also wants to seem to be both the friendly dog and the frightening wolf, often resembling both.
I thought the Tom Morello segment was just as fascinating and compelling. His music absolutely surprised me in how close it is to the traditions established by Woody and his heirs.
I"ve been dazzled by Glass's film scores since The Thin Blue Line. His work in The Truman Show and especially The Hours was fantastic. I purchased both the CD and DVD of The Hours and tried to analyze those beautiful harmonic progressions. I couldn't figure them out. What a surprise when I finally found the album of piano transcriptions and discovered that they were so simple! So ordinary! But just done in a way that nobody had ever done before. Minimalism at its best, I guess. Thank you, Philip, for your wonderful work.
I grew up on George Harrison, late
60's Dead, Jeff Airplane,Donovan etc;
all of these artists taught me to look
and listen beyond the structure (and
limitations) of mostly-blues-based
rock. I was primed, therefore, when
my friend Frances Thabit took me to
the first Kitchen to hear the Glass Ensemble (at various shows) playing
Music in Changing Parts, Music
in Twelve Parts and a preview of a
little thing called Einstein on the
Beach. Glorious! Einstein may have
been on the beach, but we sat on
the floor on minimal plastic cush-
ions (sorry:>). No one complained.
Kurt Munkasci's(sp?) sound system
was massive for rock ears as well
as crystal clear, and the music was
captivating, enervating and a lot of
other adjectives, and loud enough
to be heard down on Broome St.! If
rockers could somehow be required
(rewired?) to appreciate Mr. Glass'
contribution to all forms of modern
music, the benefits for rock music
would be immeasurable. If only...
I grew up with Beatles/Stones/late
60's Dead&Airplane, George Harrison,
Donovan etc. These artists taught me
to look and listen beyond the struc-
ture and limitations of rock form. So
I was primed when my friend Frances
Thabit took me to the first Kitchen
to hear Glass Ensemble (at various
shows) playing Music in Changing
Parts, Music in Twelve Parts and a
preview of a little thing called Ein-
stein on the Beach. Glorious! (Ein-
stein may have been on the beach,
but we sat on the floor on minimal
plastic cushions (sorry:>) Kurt's
sound system was big enough for
rock ears as well as crystal clear.
The performances were captivat-
ing, enervating, and a bunch of other superlatives. And loud enough
to be heard down on Broome St.
All rockers should somehow be re-
quired (rewired?) to appreciate Mr.
Glass' contribution to and influence
upon modern music, no question!
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