Author Topic: Philip Glass  (Read 50270 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 »
Akhnaten.
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.

<a href="https://www.youtube.com/v/lsKPL35s89I" target="_blank" rel="noopener noreferrer" class="bbc_link bbc_flash_disabled new_win">https://www.youtube.com/v/lsKPL35s89I</a>

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.

Offline aukhawk

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Re: Philip Glass
« Reply #267 on: August 25, 2021, 02:20:40 AM »
Just revisiting the 'Complete Piano Etudes' topic to mention two relatively recent additions.

Leslie Dala (2021) - each time I try to listen to some of this, it just makes me want to listen to one of my favourites instead (my favs currently being Whitwell and Gorisek).  Dala seems a rather 'middling' set in almost every way - somewhere on the spectrum between Namekawa and Whitwell, perhaps closer to the latter, decent enough sound but not outstanding, may be worth a listen if you want a slowish straight-ahead version but don't like Whitwell for some reason (too extreme, maybe).

Nicholas Teague (2020) - the set subtitled The Perceptions of the Blind - this is very problematic and I can only suggest you sample this recording on Spotify or on YouTube before buying - even the 30-second samples on Amazon will be sufficient to illustrate the problem.  His track timing in the tricksy 6th Etude is 10:39 - compare with Olafsson's exemplary recording coming in at 4:26.  Some of that difference is down to Teague frequently hitting wrong notes then correcting himself.  He is presumably making some sort of point with this very strange recording - but it escapes me entirely.

I count 10 complete sets of the Etudes 1-20 - the list in order of my own current preference is:
Batagov (great sound, lyrical playing)
Whitwell (slow and severe, exposes the bones of the music)
Gorisek (NB not recommendable as an only choice - awful sound - but a great alternative interpretation)
Namekawa (authoritative, virtuoso, straight-ahead)
van Veen (bargain price, similar to Whitwell but not preferable)
  then there are the also-rans, again in order:
Salvatori
Dala
Lin
Horvath
Teague

The part-sets by Olafsson and Levingston are also right up there with the very best, and that by Glass himself is obligatory in its way of course.
My main post upthread (two posts) with more detail about these various recordings starts here:
https://www.good-music-guide.com/community/index.php/topic,7831.msg1128223.html#msg1128223
« Last Edit: August 25, 2021, 02:27:48 AM by aukhawk »

Offline TheGSMoeller

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Re: Philip Glass
« Reply #268 on: August 26, 2021, 12:51:21 PM »
Just revisiting the 'Complete Piano Etudes' topic to mention two relatively recent additions.

Leslie Dala (2021) - each time I try to listen to some of this, it just makes me want to listen to one of my favourites instead (my favs currently being Whitwell and Gorisek).  Dala seems a rather 'middling' set in almost every way - somewhere on the spectrum between Namekawa and Whitwell, perhaps closer to the latter, decent enough sound but not outstanding, may be worth a listen if you want a slowish straight-ahead version but don't like Whitwell for some reason (too extreme, maybe).

Nicholas Teague (2020) - the set subtitled The Perceptions of the Blind - this is very problematic and I can only suggest you sample this recording on Spotify or on YouTube before buying - even the 30-second samples on Amazon will be sufficient to illustrate the problem.  His track timing in the tricksy 6th Etude is 10:39 - compare with Olafsson's exemplary recording coming in at 4:26.  Some of that difference is down to Teague frequently hitting wrong notes then correcting himself.  He is presumably making some sort of point with this very strange recording - but it escapes me entirely.

I count 10 complete sets of the Etudes 1-20 - the list in order of my own current preference is:
Batagov (great sound, lyrical playing)
Whitwell (slow and severe, exposes the bones of the music)
Gorisek (NB not recommendable as an only choice - awful sound - but a great alternative interpretation)
Namekawa (authoritative, virtuoso, straight-ahead)
van Veen (bargain price, similar to Whitwell but not preferable)
  then there are the also-rans, again in order:
Salvatori
Dala
Lin
Horvath
Teague

The part-sets by Olafsson and Levingston are also right up there with the very best, and that by Glass himself is obligatory in its way of course.
My main post upthread (two posts) with more detail about these various recordings starts here:
https://www.good-music-guide.com/community/index.php/topic,7831.msg1128223.html#msg1128223

Nice post, aukhawk.
For the complete set I prefer the Batagov recording as well, who has recorded a few other albums of Glass' music that are great.