Philip glass brief biography of mark

Appomattoxan opera surrounding the events at the end of the American Civil War, was commissioned by the San Francisco Opera and premiered on October 5, As in Waiting for the BarbariansGlass collaborated with the writer Christopher Hampton, and as with the preceding opera and Symphony No. He's definitely developed more skill as an orchestrator, in his ability to conceive melodies and harmonic structures for specific instrumental groups.

Apart from this large-scale opera, Glass added a work to his catalogue of theater music inand continuing—after a gap of twenty years—to write music for the dramatic work of Samuel Beckett. Glass's work for this production was described by The New York Times as "icy, repetitive music that comes closest to piercing the heart". Between andGlass continued to work on a series of chamber music pieces which started with Songs and Poems : the Four Movements for Two Pianospremiered by Dennis Russell Davies and Maki Namekawa in Julya Sonata for Violin and Piano composed in "the Brahms tradition" completed inpremiered by violinist Maria Bachman and pianist Jon Klibonoff in February ; a String sextet an adaption of the Symphony No.

Penduluma one-movement piece for violin and pianoa second Suite of cello pieces for Wendy Sutterand Partita for solo violin for violinist Tim Fainfirst performance of the complete workare recent entries in the series. Other works for the theater were a score for Euripides ' The Bacchaedirected by JoAnne Akalaitisand Kepleryet another operatic biography of a scientist or explorer.

The opera is based on the life of 17th century astronomer Johannes Kepleragainst the background of the Thirty Years' Warwith a libretto compiled from Kepler's texts and poems by his contemporary Andreas Gryphius. LA Times critic Mark Swed and others described the work as " oratorio -like"; Swed pointed out the work is Glass's "most chromatic, complex, psychological score" and "the orchestra dominates I was struck by the muted, philip glass brief biography of mark colors, the character of many orchestral solos and the poignant emphasis on bass instruments".

In andGlass returned to the concerto genre. Violin Concerto No. Other orchestral projects of are short orchestral scores for films; to a multimedia presentation based on the novel Icarus at the Edge of Time by theoretical physicist Brian Greenewhich premiered on June 6,and the score for the Brazilian film Nosso Lar released in Brazil on September 3, Glass also donated a short work, Brazilto the video game Chimewhich was released on February 3, In AugustGlass presented a series of music, dance, and theater performances as part of the Days and Nights Festival.

Other works completed since include Symphony No. The libretto is based on a book of the same name by Peter Stephan Jungk and covers the final months of the life of Walt Disney. Glass published his memoir, Words Without Musicin On September 22,his Piano Concerto No. Glass' String Quartet No. Commissioned by the orchestra, the work is based on David Bowie's album Lodgerit completes Glass's trilogy of symphonies based on Bowie's Berlin Trilogy of albums.

In collaboration with stage auteur, performer and co-director with Kirsty Housley Phelim McDermott, Glass composed the score for the new work Tao of Glasswhich premiered at the Manchester International Festival before touring to the Perth Festival. During the COVID pandemic, Glass continued composing, with three major works for opera and symphony premiering in and Glass's Symphony No.

The work was commissioned by the orchestra. Commissioned by the orchestra, the work was written as a tribute to Canadian journalist Peter Jennings. Glass describes himself as a "classicist", pointing out he is trained in harmony and counterpoint and studied such composers as Franz SchubertJohann Sebastian Bachand Wolfgang Amadeus Mozart with Nadia Boulanger.

Aside from composing in the Western classical tradition, his music has ties to rock, ambient music, electronic musicand world music. Early admirers of his minimalism include musicians Brian Eno and David Bowie. In the s, Glass composed the aforementioned symphonies Low and Heroesthematically derived from the Bowie-Eno collaboration albums Low and "Heroes" composed in late s Berlin.

Glass had begun using the Farfisa portable organ out of convenience, and he has used it in concert. It is featured on several recordings including North Star and Dance Nos. Glass has composed many film scores, starting with the orchestral score for Koyaanisqatsiand continuing with two biopics, Mishima: A Life in Four Chaptersresulting in the String Quartet No.

In he composed and conducted the score for director Harrison Engle's minimalist comedy short, Railroaded, played by the Philip Glass Ensemble. This was one of his earliest film efforts. He continued composing for the Qatsi trilogy with the scores for Powaqqatsi and Naqoyqatsi Inhe composed the theme for Reggio's short independent film Evidence.

He made a cameo appearance—briefly visible performing at the piano—in Peter Weir 's The Truman Showwhich uses music from PowaqqatsiAnima Mundi and Mishimaas well as three original tracks by Glass. In the s, he also composed scores for Bent and the supernatural horror film Candyman and its sequel, Candyman: Farewell to the Fleshplus a film adaptation of Joseph Conrad 's The Secret Agent Inhe finished a new soundtrack for the film Dracula.

The Hours earned him a second Academy Award nomination. The circular, recurring nature of Glass' music has been praised for providing stability and contrast to frequent jumps across time and geography in the film's narrative.

Philip glass brief biography of mark: This book traces the

In this way, the soundtrack has a distinctive personality, so much so that director Stephen Daldry believes Glass's music serves as "another stream of consciousness, another character" in the film. In the mids Glass provided the scores to films such as Secret WindowNeverwasThe Illusionist and Notes on a Scandalgarnering his third Academy Award nomination for the latter.

InGlass composed original theme music for Transcendent Manabout the life and ideas of Ray Kurzweil by filmmaker Barry Ptolemy. In the s, Glass's work from the s again became known to wider public through various media. Inhis Concerto for Violin and Orchestra was featured in the French film The Moustacheproviding a tone intentionally incongruous to the banality of the movie's plot.

Metamorphosis: Metamorphosis One from Solo Piano was featured in the reimagined Battlestar Galactica in the episode "Valley of Darkness" and also in the final episode "return 0" of Person of Interest. InGlass contributed a piano piece "Duet" to the Park Chan-wook film Stoker which is performed diegetically in the film. Glass's music was featured in two award-winning films by Russian director Andrey Zvyagintsev, Elena and Leviathan For television, Glass composed the theme for Night Stalker and the soundtrack for Tales from the Loop InGlass and his producer Kurt Munkacsi and artist Don Christensen founded the Orange Mountain Music company, dedicated to "establishing the recording legacy of Philip Glass" and, to date, have released sixty albums of Glass's music.

He has described himself as "a Jewish- Taoist - Hindu - Toltec - Buddhist " and is a supporter of the Tibetan independence movement. He's also chair of the magazine Tricycle: The Buddhist Review. Glass is a vegetarian. He was romantically involved with cellist Wendy Sutter for approximately five years. As of December [update]his partner was Japanese-born dancer Saori Tsukada.

This approach emphasizes simplicity, often employing repetitive motifs that evolve gradually over time. These repeating patterns build a mesmerizing atmosphere, drawing listeners into a meditative state. The subtle changes in dynamics and instrumentation keep the experience fresh and engaging. Rhythmic intricacies play a crucial role as well.

The composer frequently experiments with shifting time signatures and polyrhythms, adding layers of complexity to seemingly straightforward melodies. This rhythmic innovation contributes to the dynamic energy present throughout each piece, maintaining a sense of movement and development. Diverse compositions from this visionary artist have shaped contemporary minimalist music, showcasing unique structures and innovative use of repetition.

Each creation serves as a testament to the transformative power of sound, influencing countless musicians and genres across the globe. Ultimately, the enduring legacy of these significant compositions lies in their ability to challenge perceptions of music, creating a lasting impact on artists and audiences alike. Throughout his career, this visionary composer has engaged in numerous partnerships that have significantly shaped his oeuvre.

By blending various artistic disciplines, he has created an expansive body of work that transcends traditional boundaries, inviting fresh interpretations and innovative expressions.

Philip glass brief biography of mark: As a teenager, he studied

One of the most notable aspects of his collaborations lies in his willingness to explore diverse genres. Working with choreographers, filmmakers, and visual artists, he has successfully integrated sound with movement and imagery. These interdisciplinary projects not only highlight his versatility but also emphasize the role that partnership plays in fostering artistic growth.

Numerous prominent figures have contributed to his artistic journey. Collaborations with celebrated directors, such as Martin Scorsese and Jean-Luc Godardas well as influential theater practitioners, have led to memorable scores that enhance the narrative and emotional depth of their works. Moreover, his partnerships with fellow musicians have yielded unique sonic experiences, showcasing how collective creativity can lead to groundbreaking compositions.

Ultimately, these collaborations underscore the importance of dialogue and exchange in the creative process, inspiring future generations of artists to explore new avenues of expression. The impact of one visionary figure on contemporary soundscapes is a fascinating subject that merits attention. By delving into the nuances of his style, one can uncover the elements that have reshaped musical expression today.

This visionary has not only transformed classical traditions but has also woven his essence into various musical cultures. The following points illustrate how this influence manifests across different realms:. This exploration reveals a rich tapestry of influence that continues to inspire new generations. The enduring nature of these musical principles illustrates a significant evolution in the landscape of sound, forever changing how audiences engage with music.

Steve Reich is known for his innovative approach to minimalism, which has greatly influenced the orchestral genre. His compositions often feature repetitive structures and phasing techniques, creating a unique sound that challenges traditional orchestral music. Both composers explore the relationship between music and visual media, emphasizing minimalism and the impact of technology on society.

His works often utilize layering and repetition, allowing for a dynamic interplay between instruments, which is especially evident in his orchestral concertos. Koyaanisqatsi has had a profound impact on contemporary music and film scores by popularizing minimalist music in cinema. Log In. Browse Biographies. Quiz Are you a biography pro?

A Larisa Latynina. B Nadia Comaneci. C Simone Biles. D Mary Lou Retton. In terms of hypnotic effect, nothing matches Part IIIin which syllables and tentative chords compose a post-industrial mantra inspired by both spiritual Indian music and the frenetic and dissonant Western lifestyle. Part IV performs one of the most mesmerizing metamorphoses.

It opens slowly in the Bach-ian fashion of some of his early compositions. Then it quietly accelerates while weaving variation after variation on a static chord. Subtly this flow splits in two strands: the vocals are part of a childish pattern that seems to chant a nursery rhyme while one of the organs carries a dancing melody alone.

This harmony is suddenly broken, with one of the keyboards playing a dissonant "remix" of the melody and the vocals emitting long drones and another keyboard spinning the melody at supersonic speed in a timbre worthy of an amusement park's ride. This triple partition survives until the orgasmic ending. Part V is, instead, one of the most lively and uplifting pieces, a sort of Vivaldi of minimalism, with broad tonal strokes and carillon-like rhythms, and relatively little variation.

Celestial vocals provide a mellow undercurrent for the fibrillating theme of Part VIbut they eventually take over and prove to be harsher than the tremor that they were trying to placate. The very long Part VII is the one movement that is very reminiscent of the austere and geometric compositions of the early years. Even the melismatic singing by the soprano, that after the fourth minute's sudden soaring of the music requires acrobatic skills, lacks the human touch that the previous parts had.

The soprano emits Gregorian-like wails, while harpsichord-like keyboards keep a frantic polyrhythm and other instruments with the flute slowly upstaging the others repeating an ascending-descending pattern. After ten minutes all the currents meet and the soprano starts singing a folkish melody accompanied by the ever more chaotic fanfare.

Part IX the shortest piece presides over the most complete transformation of a pattern, while Part X is the exact opposite, containing very little of interest. Neither stands up to the standards of the previous eight movements. Part XI too seems alien to the program of the first eight movements. It is ostensibly a different kind of study, in which "the harmony changes with every new figure".

The work closes with the "scherzo" of Part XIIthat sounds like a traditional soprano gurgling an operatic aria with the accompaniment of an ensemble that adapts to the melody of the vocals and fills out the blanks. The last movement heralds the Copernican revolution of Einstein on the Beachand the previous three sound like fillers to achieve the magic number of twelve.

The real deal is contained in the first eight movements, particularly parts 1, 2, 3, 4, 5, 8. Le strutture cicliche cullanti fanno affidamento sulle singole parti che differiscono tra loro nella melodia, nel ritmo e nell'algoritmo. In termini di effetto ipnotico nulla batte Part III, in cui le sillabe e gli strumenti a corda esitanti compongono un mantra post-industriale tanto ispirato alla musica spirituale indiana quanto al frenetico philip glass brief biography of mark di vita occidentale.

La traccia inizia lentamente seguendo gli schemi delle prime opere di Bach. Poi accelera quietamente facendo oscillare una variazione dopo l'altra in una catena statica. Questo flusso si divide sottilmente in due fili: le voci che sembrano intonare una rima cullante appartengono ad un pattern infantile, mentre uno degli organi trascina con se una solitaria melodia danzante.

Questa partizione triplice sopravvive fino al finale orgasmico. Un altro movimento "vivaldiano", Part VIII, reintegra l'atmosfera vibrante e gioiosa dei primi movimenti. Il soprano emette gemiti quasi gregoriani, le tastiere simili a clavicembali mantengono un poliritmo frenetico, mentre gli altri strumenti comprendenti un flauto che li mette lentamente in ombra ripetono un pattern che ascende e discende.

Nessuna di questi due movimenti vale quanto i primi otto. Part XI risulta troppo estranea al programma dei primi otto movimenti. Il disco si conclude con lo "scherzo" di Part XII che somiglia ad un tradizionale soprano gorgogliante un'aria operistica accompagnato da un complesso che adatta la melodia alle voci, correggendo i difetti del movimento.

L'ultimo movimento preannunciava la rivoluzione copernicana di Einstein On The Beach, mentre i tre precedenti sembrano essere riempitivi che hanno il solo fine di conseguire il fatidico numero di dodici tracce.

Philip glass brief biography of mark: Born in Baltimore, Maryland, Glass

If English is your first language and you could translate my old Italian text, please contact me. Scroll down for recent reviews in English. Il manierismo che in quest'opera e' ancora scongiurato dirompe invece nelle successive colonne sonore: per il cinema North Starminiature "ambientali" che impiegano per la prima volta la voce umana, poi rese hit da classifica in versione discoper il teatro l'immane Einstein On The Beachdi quattro ore e mezza, per Bob Wilsonper il balletto Dance ; opere che gradualmente incorporano contrappunto e armonia, e che risultano di piu' immediata fruizione, foriere di fama e successo, anche se talvolta sterili e poco innovative.

Il processo additivo che e' alla base della musica di Reich viene ora impiegato da Glass per ottenere effetti sonori piu' facili. Non a caso da questo momento la sua produzione si limita praticamente alla "colonna sonora", per il cinema o per il teatro.

Philip glass brief biography of mark: Philip Glass (born January 31,

Le cinque Dance per voce, elettronica, flauti e sassofoni, costituiscono, per purezza ed esuberanza, il primo capolavoro di questo periodo, traboccanti come sono di spunti tratti dai valzer, dai carillon, dagli inni anglicani la 1, la 3 e soprattutto la 5 e di assoli minimalisti alla Riley la 2 e soprattutto la 4, che e' un maestoso e commosso requiem d'intensita' Bruckner-iana.

Over four hours long, Einstein On The Beach is an opera scored on a libretto by Bob Wilson but the nonsensical lyrics are merely numbers and syllables. Einstein On The Beachdi oltre quattro ore, su libretto di Bob Wilson, e' la sua opera piu' rigorosa, pregna di uno spirito meccanicista che priva il canto di emotivita' i testi sono soltanto numeri e vocali e adotta un incedere industriale sovraccarico di riferimenti tecnologici.

Nei cinque atti dell'opera si sublima il processo di sovrapposizione di parti strumentali e cantate, trasportato ora nell'intensa sacralita' di un cerimoniale religioso il coro di voci maschili, adulte e infantili, che si intrecciano glaciali e marziali in Knee Play 1il coro di bassi e tenori accompagnato dal solo violino in Knee Play 4ora nell'incalzare ludico di un puzzle armonico il solfeggio frenetico e i singhiozzi di Hiskey dentro il ritmo concitato di flauto e sax di Trainil movimentato concilio operistico di Night Trainle frequenze vertiginose di violino, organo e voce di Dance 2i riverberi del coro a cappella di Knee Play 3ora nella straniante weltanschaung di un anelito cosmico il coro femminile riflesso all'infinito alla fine di Traini dialoghi dell'assurdo fra sassofoni e clarinetto di Buildingil desolato canto di Hiskey sulla lenta ipnotica cadenza di organo di Bedi vortici apocalittici di Spaceship.

Le parti piu' suggestive sono quelle per violino, che conferiscono all'opera gran parte del suo lirismo. Einstein on the Beach the logical evolution of the program inaugurated with Music In Twelve Parts and Steve Reich's Music For 18 Musicians are the works that mark a new era for the movement that used to be called "minimalism". Glass, in particular, is an ambiguous composer, not always as revolutionary as his peers but always much more capable of taking advantage of the zeitgeist and of connecting with the masses.

The opera Satyagraha premiered in september was Glass' first recording with the classical orchestra, although it remained faithful to key aspects of his aesthetic: phonetic obsession, wave-like counterpoint, cyclic melodies, baroque-like atmospheres. Like its predecessor, it was largely a moral and political work that dealt with not too distant events and with issues that were still current.