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Philip Glass|Powaqqatsi

Powaqqatsi

Philip Glass

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In 2002, Philip Glass toured in support of the four-disc set Glass on Film, culled from his movie scores. It was good to see that the Philip Glass Ensemble performed the long-underrated Powaqqatsi among his other collaborations with filmmaker Godfrey Reggio, because those electric keyboard works have outlasted the symphonic stuff. Back in the '80s, Glass didn't seem to think so. He aimed to become the thinking filmmaker's response to John Williams by turning his minimalist background to astringent, stately symphonic movie scores for Mishima, Hamburger Hill, and The Thin Blue Line. It's understandable how Powaqqatsi's music was overlooked: The synthesizers and the orchestra and booming percussion were uncomfortably cluttered and showbizzy. Even today, Powaqqatsi's Anthem sounds like a naked attempt at an instrumental hit like Vangelis' theme for Chariots of Fire. On the other hand, the melodic and textural similarities of the symphonic scores, plus the snatches cribbed from them for other movies, have deadened their appeal. Powaqqatsi is straight-up loud. Instead of Koyanisqqatsi's somber organ prelude (as in a Baptist service), Serra Pelada provides the mightiest track in Glass' career: a gamelan ensemble marching with a drum-and-bugle corp behind the voices of the Latin American Children's Ensemble (set off with a coach's whistle). Almost everywhere, the synthesizers and orchestra work and play together, while the tunes are actually memorable on their own. The three-part New Cities in Ancient Lands, set in China, Africa, and India, features woodwinds and keyboards from the Philip Glass Ensemble, with kalimbas and balafons strewn among the orchestra. Video Dream is simple lyricism, like the English horn that unrolls the Arabic melody of That Place. The ponderous Caught and two of the three Anthem reprises are mere clutter, but somehow Glass makes room for everything, even Foday Musa Suso's kora and vocals on Mr. Suso #1 and Mr. Suso #2 With Reflection. It adds up for a bright world music symphony.

© TiVo

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Powaqqatsi

Philip Glass

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1
Serra Pelada
Kurt Munkacsi
00:05:02

Philip Glass, Composer, MainArtist - Kurt Munkacsi, Producer

© 1988 Nonesuch Records ℗ 1988 Nonesuch Records

2
The Title
Kurt Munkacsi
00:00:23

Philip Glass, Composer, MainArtist - Kurt Munkacsi, Producer

© 1988 Nonesuch Records ℗ 1988 Nonesuch Records

3
Anthem, Pt. 1
Kurt Munkacsi
00:06:22

Philip Glass, Composer, MainArtist - Kurt Munkacsi, Producer

© 1988 Nonesuch Records ℗ 1988 Nonesuch Records

4
That Place
Kurt Munkacsi
00:04:41

Philip Glass, Composer, MainArtist - Kurt Munkacsi, Producer

© 1988 Nonesuch Records ℗ 1988 Nonesuch Records

5
Anthem, Pt. 2
Kurt Munkacsi
00:03:48

Philip Glass, Composer, MainArtist - Kurt Munkacsi, Producer

© 1988 Nonesuch Records ℗ 1988 Nonesuch Records

6
Mosque and Temple
Kurt Munkacsi
00:04:42

Philip Glass, Composer, MainArtist - Kurt Munkacsi, Producer

© 1988 Nonesuch Records ℗ 1988 Nonesuch Records

7
Anthem, Pt. 3
Kurt Munkacsi
00:08:11

Philip Glass, Composer, MainArtist - Kurt Munkacsi, Producer

© 1988 Nonesuch Records ℗ 1988 Nonesuch Records

8
Train to Sao Paulo
Kurt Munkacsi
00:03:04

Philip Glass, Composer, MainArtist - Kurt Munkacsi, Producer

© 1988 Nonesuch Records ℗ 1988 Nonesuch Records

9
Video Dream
Kurt Munkacsi
00:02:14

Philip Glass, Composer, MainArtist - Kurt Munkacsi, Producer

© 1988 Nonesuch Records ℗ 1988 Nonesuch Records

10
New Cities in Ancient Lands, China
Kurt Munkacsi
00:02:47

Philip Glass, Composer, MainArtist - Kurt Munkacsi, Producer

© 1988 Nonesuch Records ℗ 1988 Nonesuch Records

11
New Cities in Ancient Lands, Africa
Kurt Munkacsi
00:02:56

Philip Glass, Composer, MainArtist - Kurt Munkacsi, Producer

© 1988 Nonesuch Records ℗ 1988 Nonesuch Records

12
New Cities in Ancient Lands, India
Kurt Munkacsi
00:04:42

Philip Glass, Composer, MainArtist - Kurt Munkacsi, Producer

© 1988 Nonesuch Records ℗ 1988 Nonesuch Records

13
The Unutterable
Kurt Munkacsi
00:07:02

Philip Glass, Composer, MainArtist - Kurt Munkacsi, Producer

© 1988 Nonesuch Records ℗ 1988 Nonesuch Records

14
CAUGHT!
Kurt Munkacsi
00:07:20

Philip Glass, Composer, MainArtist - Kurt Munkacsi, Producer

© 1988 Nonesuch Records ℗ 1988 Nonesuch Records

15
Mr. Suso #1
Kurt Munkacsi
00:01:07

Philip Glass, Composer, MainArtist - Kurt Munkacsi, Producer

© 1988 Nonesuch Records ℗ 1988 Nonesuch Records

16
From Egypt
Kurt Munkacsi
00:03:23

Philip Glass, Composer, MainArtist - Kurt Munkacsi, Producer

© 1988 Nonesuch Records ℗ 1988 Nonesuch Records

17
Mr. Suso #2 with Reflection
Kurt Munkacsi
00:01:18

Philip Glass, Composer, MainArtist - Kurt Munkacsi, Producer

© 1988 Nonesuch Records ℗ 1988 Nonesuch Records

18
Powaqqatsi
Kurt Munkacsi
00:04:35

Philip Glass, Composer, MainArtist - Kurt Munkacsi, Producer

© 1988 Nonesuch Records ℗ 1988 Nonesuch Records

Album review

In 2002, Philip Glass toured in support of the four-disc set Glass on Film, culled from his movie scores. It was good to see that the Philip Glass Ensemble performed the long-underrated Powaqqatsi among his other collaborations with filmmaker Godfrey Reggio, because those electric keyboard works have outlasted the symphonic stuff. Back in the '80s, Glass didn't seem to think so. He aimed to become the thinking filmmaker's response to John Williams by turning his minimalist background to astringent, stately symphonic movie scores for Mishima, Hamburger Hill, and The Thin Blue Line. It's understandable how Powaqqatsi's music was overlooked: The synthesizers and the orchestra and booming percussion were uncomfortably cluttered and showbizzy. Even today, Powaqqatsi's Anthem sounds like a naked attempt at an instrumental hit like Vangelis' theme for Chariots of Fire. On the other hand, the melodic and textural similarities of the symphonic scores, plus the snatches cribbed from them for other movies, have deadened their appeal. Powaqqatsi is straight-up loud. Instead of Koyanisqqatsi's somber organ prelude (as in a Baptist service), Serra Pelada provides the mightiest track in Glass' career: a gamelan ensemble marching with a drum-and-bugle corp behind the voices of the Latin American Children's Ensemble (set off with a coach's whistle). Almost everywhere, the synthesizers and orchestra work and play together, while the tunes are actually memorable on their own. The three-part New Cities in Ancient Lands, set in China, Africa, and India, features woodwinds and keyboards from the Philip Glass Ensemble, with kalimbas and balafons strewn among the orchestra. Video Dream is simple lyricism, like the English horn that unrolls the Arabic melody of That Place. The ponderous Caught and two of the three Anthem reprises are mere clutter, but somehow Glass makes room for everything, even Foday Musa Suso's kora and vocals on Mr. Suso #1 and Mr. Suso #2 With Reflection. It adds up for a bright world music symphony.

© TiVo

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