Author Topic: Philip Glass  (Read 48219 times)

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Offline Symphonic Addict

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Re: Philip Glass
« Reply #260 on: March 29, 2020, 02:31:16 PM »
Concerto Fantasy for two timpanists and orchestra is one of his most exciting pieces IMO (anyone should play this work at high volume if possible!), working like a very good introduction to his music:

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Offline aukhawk

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Re: Philip Glass
« Reply #261 on: March 30, 2020, 12:47:28 AM »
The Piano Etudes. (try Batagov, on YouTube)

Offline Total Rafa

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Re: Philip Glass
« Reply #262 on: March 30, 2020, 08:28:59 AM »
I would like to get into the music of Philip Glass, or at least to check it out and see if it's for me. Are there some "essential" works for a newcomer to hear? He's written so much music...

I've heard and enjoyed the Violin Concerto somewhat recently. Perhaps more in that vein...?

Anyone else listening to Glass lately...?

For his piano music, this album would be a great start:

Offline vers la flamme

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Re: Philip Glass
« Reply #263 on: March 30, 2020, 09:04:31 AM »
For his piano music, this album would be a great start:

That sounds like a good idea. I've listened to Mr. Ólafsson's Bach and found it terrible, I thought he made Bach sound like Philip Glass... which can only bode well for this release ;D

Offline Brewski

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Re: Philip Glass
« Reply #264 on: June 24, 2020, 09:33:56 AM »
After seeing Akhnaten and Satyagraha back-to-back this past weekend (via the Met Opera's nightly Live in HD reprises), I liked them much more than expected. Perhaps the timing was better, for their messages of peace. (I saw Satyagraha when it appeared in 2008, but not since.) Both productions were spectacular -- even if I chuckled a little at all the juggling in Akhnaten -- but it sort of works, somehow.

Each one had some magnificent singing: countertenor Anthony Roth Costanzo in Akhnaten, and tenor Richard Croft in Satyagraha, with outstanding work from the Met Opera chorus -- especially in the latter opera, singing in Sanskrit, which chorus master Donald Palumbo noted was difficult to learn because the vowels are so similar.

And to hear each score done by the great Met Orchestra on added to the pleasure. Highly recommended, both.

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Offline Hans Holbein

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Re: Philip Glass
« Reply #265 on: May 11, 2021, 08:40:28 PM »
Music with Changing Parts at Carnegie Hall in 2018.

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Offline aligreto

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Re: Philip Glass
« Reply #266 on: June 10, 2021, 04:47:50 AM »
Cross posts from the Listening Thread with comments on the two works on this CD after my first listen:

Concerto for Cello and Orchestra [Lloyd Webber/Schwarz]

This is my first listen to this work. The opening I found to be disconcerting from a listening point of view. The cello playing against a double bass accompaniment is not successful, sonically or texturally, for me. He is focusing too heavily on the lower register strings of the cello for far too long. Once we get past this opening section the music and sonorities open up and expand nicely. The slow movement is an easy flowing, low key work. It is lyrical and it has a sense of poignancy to it but it is too long, to be honest. I really like the final movement. It is a terrifically powerful piece of music with great forward momentum. I like the tempo changes which augment the sense of tension and excitement.

Concerto Fantasy for Two Timpanists and Orchestra [Glennie/Haas/Schwarz]

I find this to be a wonderfully exciting and captivating work from the opening bars. The music in the opening movement is joyous and buoyant and is played assertively and with great verve. There is a wonderfully atmospheric mood of mystery in the second movement; a mood of expectancy or anticipation. The sound world of the third movement, I find, is very exciting and innovative. The third movement runs very well into the final movement in terms of the flow of both the expansion of the music and the rhythm. This final movement is, in some ways, a typical piece of Glass music but there is a difference here and the music has a definite edge. It is terrific stuff!

It is better to remain silent and be thought a fool than to speak and leave no doubt.