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Minimalistische muziek - Verschenen op 1 januari 1989 | Sony Classical

Onderscheidingen Stereophile: Record To Die For
Mention "minimalism" and certain names will pop up, both within and outside of the classical world: Terry Riley, Steve Reich, John Adams. The most famous one, however, would be Philip Glass. Unlike most 20th Century composers, Glass has reached far beyond the concert hall: his work includes film soundtracks (THE TRUMAN SHOW, THE THIN BLUE LINE), multimedia presentations ('1000 Airplanes on the Roof"), and collaborations with pop/rock writers/performers (his SONGS FOR LIQUID DAYS album). With SOLO PIANO, Glass presents himself "unplugged" - no electronic keyboards or synthesizers, and no overdubs, either - just solo piano. Here, Glass' connection to the established "classical" tradition is most evident. Though his pieces are "minimal" (subtly altered repeated patterns or melodic motifs), yet they have an unsentimental beauty and heartfelt grace that one would hear in J.S. Bach's English Suites, as well as the piano music of Chopin and Erik Satie. Portions of the suite 'Metamorphosis' are based on Glass' score for THE THIN BLUE LINE; these short pieces are forlornly entrancing without being drippy or "trance-like." The finale, 'Wichita Sutra Vortex,' is a uniquely and quintessentially "American" piece. It draws upon gospel music in the same way Ives and Copland drew from the well of American folk tunes, but where those composers worked in ironic portions or references to the tunes, Glass absorbs the deep feeling and tones of gospel, without recalling any particular song. Both Glass fans and minimalist neophytes should hear this. © TiVo
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Originele soundtracks - Verschenen op 1 januari 1983 | Island Records (The Island Def Jam Music Group / Universal Music)

Onderscheidingen The Qobuz Ideal Discography
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Minimalistische muziek - Verschenen op 29 september 2003 | Sony Classical

Onderscheidingen The Qobuz Ideal Discography
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Minimalistische muziek - Verschenen op 1 januari 1979 | Sony Classical

Onderscheidingen The Qobuz Ideal Discography
The recording of the original production of Philip Glass' and Robert Wilson's Einstein on the Beach has iconic significance both in the development of the musical style unfortunately known as minimalism, as well as in the history of music in the late twentieth century. It was a watershed moment when Glass and his ensemble brought the nearly five-hour opera to the Metropolitan Opera House in 1976; his unique aesthetic convictions moved from the rarefied atmosphere of loft concerts into the face of the classical music establishment in a way that could not be ignored. One of the strengths of the work is the diversity of musical worlds it encompasses, from moments of a cappella choral singing, to relentless electro-techno tracks, to ensembles of sonically overwhelming grandeur. The most striking characteristic of Einstein is its use of repetitions, which are rarely exact -- a large part of the music's allure lies in Glass' subtle varying of the repeated patterns. The length of the patterned sections demands an extraordinary level of concentration from the performers, and listeners, regardless of their feelings about the music itself, cannot help being amazed at the virtuosity of the singers, speakers, and instrumentalists who could pull off such a remarkable feat of memory and endurance. For the listener willing to give him- or herself over to the music's spell, it can have a visceral, mesmerizing effect. The recording features a number of memorable performances, not the least by the Philip Glass Ensemble, which plays with remarkable focus, precision, and energy, and the same can be said for the disciplined vocal ensemble. Violinist Paul Zukofsky negotiates the composer's patterns with deeply felt musicality and nuance, never with a sense of meaningless repetition. The actors, Lucinda Childs, Samuel M. Johnson, Paul Mann, and Sheryl Sutton, perform with a comparable verbal and dramatic virtuosity. The sound is clear, bright, and present. Einstein belongs in the collection of anyone concerned with the most significant developments in music of the twentieth century, and of opera in particular. © TiVo
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Originele soundtracks - Verschenen op 3 april 2020 | Hollywood Records

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Originele soundtracks - Verschenen op 5 december 2002 | Nonesuch - Warner Records

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Minimalistische muziek - Verschenen op 13 januari 2012 | Sony Classical

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Klassiek - Verschenen op 9 december 2016 | Sony Classical

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Originele soundtracks - Verschenen op 29 september 2017 | Sony Classical

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Ten years after Laurent Charbonnier’s Les Animaux amoureux, Philip Glass gets back once again into the animal world, with a portrait of the famous primatologist Jane Goodall. The woman who spent most of her life studying chimpanzees was filmed for over 50 years by Hugo Van Lawick, a director employed by National Geographic (and future husband of the scientific). Brett Morgen, to whom we owe an acclaimed documentary on Kurt Cobain (Kurt Cobain, a Montage of Heck), has sorted these hundreds of hours of archive images, and has edited them in a movie put into music by the world famous contemporary composer, known for his minimalist works, among which film scores such as Woody Allen’s Cassandra’s Dream, Martin Scorsese’s Kundun, Peter Weir’s The Truman Show and Stephen Daldry’s The Hours. Performed by the City of Prague Philharmonic Orchestra and conducted by Miriam Nemcova, Glass’ soundtrack is like two locomotives travelling in parallel but different tracks: on one side, it’s on a reduced scale, for the scenes where caterpillars are filmed in close-up for example, or those depicting intimate moments between the protagonist and the chimpanzees. The impact of these human size scenes is enriched by the contribution of pianist Michael Riesman and his delicate touch (Time In Gombe). On the other side, music sometimes takes a broader point of view, when it highlights the majesty of African landscapes and Goodall’s outstanding destiny (Perfect Life). In the last case, Glass’ partition realizes Brett Morgen’s will to direct some kind of cinematographic opera with a universal humanist discourse. In this particularly poignant and poetic soundtrack, we find Philip Glass’ usual processes, such as his obsession with repetitive arpeggios, whether played by the solo piano or by the orchestra (Mother). The arpeggio is associated with musical learning, as this succession of notes forming a chord is part of the obligatory exercises of a novice pianist. The idea of the composer is thus to reflect the “young” and innovating aspect of Goodall’s scientific work. As pointed out by the title of the track Time Of Discovery, Jane Goodall is a true modern-day discoverer. Glass’ music also reflects the idea of a somewhat biased familiarity. Therefore, the harmonies from the main theme (In The Shadow of Man) operate on a scale that on the surface may seem overwhelmingly simple, in the most common mode possible (the major mode). But before arriving safe and sound, the scale deviates towards unexpected chords, causing some kind of unease for the listener. The chimpanzees’ behavior disturbingly resembles human behavior, but there are differences of course, expressed by this “distorted” major scale. With such ideas, Glass proves once again that he is a great composer whose music accompanies with intelligence and emotion what happens on screen. © NM/Qobuz
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Klassiek - Verschenen op 10 februari 1988 | Nonesuch

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Minimalistische muziek - Verschenen op 1 januari 1987 | Sony Classical

Philip Glass' 1987 album Songs from the Trilogy is made up of brief selections from his three portrait operas, Einstein on the Beach (1976), Satyagraha (1980), and Akhnaten (1983). It gives a good idea of what the music from the operas sounds like, but at the same time it misrepresents what the music is actually about. In developing his "music with repetitive structures" (the description he preferred over "minimalism"), Glass was creating a new kind of experience, one in which the traditional temporal expectations of a piece of music are overturned, where changes happen incrementally and very slowly over a long (sometimes a very long) span of time. A common response to his work, particularly his earlier pieces, including Einstein, was boredom followed by a visceral jolt when the listener was suddenly hit by the power of the gradually evolving changes. The snippets on this album convey the sound of Glass' music, but their brevity rules out the possibility of their having the impact the composer intended. "Trial-Prison" from Einstein on the Beach, for instance, is cut from 18 minutes to three, and most of the excerpts from Satyagraha and Akhnaten suffer a same fate, shortened to a third to a half of their original length. Still, the album is not without its merits. The gripping performances are by the Philip Glass Ensemble in Einstein, and in the case of Satyagraha and Akhnaten, taken from the original cast albums. Tenor Douglas Perry is a standout in the role of Gandhi in Satyagraha; his tone is sweet and fresh and his delivery achingly poignant. Soprano Iris Hiskey's crystalline, wordless vocalise in "Bed" from Einstein is eerily mesmerizing. In all the operas, Sony's sound is exemplary. The album may not offer much of a real sense of what the operas are like, but if it whets listeners' appetites to seek out the complete recordings it will have served a worthy purpose. © Stephen Eddins /TiVo
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Klassiek - Verschenen op 25 november 1997 | Nonesuch - Warner Records

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Originele soundtracks - Verschenen op 28 augustus 2015 | Sony Classical

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Klassiek - Verschenen op 1 oktober 2001 | Sony Classical

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Klassiek - Verschenen op 11 september 1995 | Sony Classical

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Klassiek - Verschenen op 9 december 2016 | Sony Classical

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Minimalistische muziek - Verschenen op 1 januari 1989 | Sony Classical

Mention "minimalism" and certain names will pop up, both within and outside of the classical world: Terry Riley, Steve Reich, John Adams. The most famous one, however, would be Philip Glass. Unlike most 20th Century composers, Glass has reached far beyond the concert hall: his work includes film soundtracks (THE TRUMAN SHOW, THE THIN BLUE LINE), multimedia presentations ('1000 Airplanes on the Roof"), and collaborations with pop/rock writers/performers (his SONGS FOR LIQUID DAYS album). With SOLO PIANO, Glass presents himself "unplugged" - no electronic keyboards or synthesizers, and no overdubs, either - just solo piano. Here, Glass' connection to the established "classical" tradition is most evident. Though his pieces are "minimal" (subtly altered repeated patterns or melodic motifs), yet they have an unsentimental beauty and heartfelt grace that one would hear in J.S. Bach's English Suites, as well as the piano music of Chopin and Erik Satie. Portions of the suite 'Metamorphosis' are based on Glass' score for THE THIN BLUE LINE; these short pieces are forlornly entrancing without being drippy or "trance-like." The finale, 'Wichita Sutra Vortex,' is a uniquely and quintessentially "American" piece. It draws upon gospel music in the same way Ives and Copland drew from the well of American folk tunes, but where those composers worked in ironic portions or references to the tunes, Glass absorbs the deep feeling and tones of gospel, without recalling any particular song. Both Glass fans and minimalist neophytes should hear this. © TiVo
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Klassiek - Verschenen op 26 januari 2007 | Sony Classical

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Originele soundtracks - Verschenen op 1 januari 2007 | Universal Music Division Polydor

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Pop - Verschenen op 1 januari 1977 | EMI Catalogue

Artiest

Philip Glass in het magazine
  • Video interview with Woodkid
    Video interview with Woodkid We met with Philip Glass fan Woodkid, who recently crossed paths with his idol at the Festival Nouveau Siècle de Saint-Étienne. The French musician and videographer discussed the influence of minim...