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Biografie
Music has always been around Phillip Glass, as is to be expected from the son of a record store owner. From an early age he threw himself into music both modern, from the likes of Schoenberg, Shostakovich and Bartok, and classical, from Beethoven and Schubert. He was studying the flute as a child, and by the time he was 15, he was at Chicago University, studying Maths and Philosophy.
After University he attended the Julliard School of music and took up the keyboard as his primary instrument. At the time, fellow minimalist composer Steve Reich was a classmate of his, however Glass was already a prodigy, earning awards for his compositions including one of the prestigious BMI Student Composer Awards in 1959.
Each of the composers that he’d listened to as a child was a formative influence on his later work, combining the uncompromising experimental attitude of modern composers with the melodies and dynamics of the classics. This came to a head in 1964 where he received a Fulbright scholarship and studied under Nadia Boulanger until 1966, for Glass, these were some of the most formative days in his career.
While he was there, he was taken by the New Wave of French cinema, the works of Jean-Luc Godard and François Truffaut especially. This led to his fascination with scoring films and theatre, leading later in his career to three Academy Award nominations for his work and a BAFTA win for his work on 2002’s The Hours.
Glass is the kind of artist where one can safely say that his works will be around forever, and anywhere they’re being performed is the place to be for anyone who appreciates music with intelligence.
Live-Bewertungen
Having the chance to see Philip Glass perform his works is the chance to witness one of the greats; he brings with him his own unique style, having developed what is a minimalistic approach to music. My opportunity to witness Glass’ artistic genius was at The Center for the Art of Performance at UCLA’s Royce Hall. He performed his completed Etudes, a set of 20 solo piano works that took 20 years to make.
Expectedly, a bougy atmosphere lent a bit of uncomfortable-ness for someone who listens to bands like Arctic Monkeys or Bleachers on a daily basis, but as soon as Glass walked in, his sheer genius brought everyone down onto the same level. From the moment he starts with the Prelude, you become hypnotized by his playing; the chord progressions invigorating so many senses at once. Flawlessly as each finger touches the keys you notice that Glass never looks up, but he never really is looking at the piano keys either. What he is looking at is the music come to life. Every emotion that went into the composition of the piece comes back to him as he plays. The piano keys are merely an extension of his feelings, and you just happen to be in the room as he is letting it all out. Maki Namekawa and Sally Whitwell also accompanied him to perform parts of Etudes; and while they performed their parts impeccably, you knew that it wasn’t the same as if Glass had performed them himself. Having had an opportunity to hear the Philip Glass Ensemble play the entire soundtrack to Koyaanisqantis, and being able to witness Glass play solo was truly awe-inspiring. In both performances, you can hear his “minimalistic” approach to music, using an interchanging chord progression that slowly builds to epic proportions. Having seen two facets of Philip Glass’ art, there is no doubt that Glass is among the world’s greatest pianist and composers of all time.
Ellinoinsta
As an up-and-coming film music composer myself, Philip Glass has been someone that I've looked up to for a long time. His scores for experimental films, non-narrative documentaries and operas, especially projects like Koyaanisqatsi, Einstein on the Beach, Glassworks and Mishima are some of my favourites and have been influential in the creation of my own compositions. I purchased my ticket almost a year in advance and I'm so glad I was able to witness this living legend in concert.
David Bowie's Berlin trilogy (a cycle of albums released between 1977 and 1979 namely Low, Heroes and Lodger) provided the material for Glass' symphonies, hence the name of the concert being 'The Bowie Symphonies'. While I personally didn't hear any relation to Bowie's music in these compositions, I thoroughly enjoyed listening to the signature Philip Glass sound characterised by pulses created by the string section, woodwinds and tuned percussion and the use of the massive pipe organ. Hans Zimmer was clearly influenced by this sound of Glass when creating the score for Interstellar. I found the lyrics by Angélique Kidjo really interesting too.
Overall a great night and my first time visiting the impressive Royal Festival Hall which holds true to its name.
chinmay-madhu
Philip Morris Glass is considered one of the modern greats and one of the most influential music makers of the late 20th century. He is a classical, minimalistic composer who can boast to being trained in harmony and counterpoint and having studied composing greats such as Franz Schubert, Johann Sebastian Bach and Wolfgang Amadeus.
This is an evening for people impassioned about music and its structure, the whole audience are eagerly awaiting the arrival of the man himself as his piano also awaits him centre stage. There is a vast array of musicians gathered to aid Philip in the recreation of some of his most revered work including 'Metamorphosis Four'. The symphonic qualities of the show reach to the rafters and bathe the entire room in musical bliss. The audience applauds wildly at the conclusion of every track as each composition seems a little more considered than the last. There is no doubt that Philip Glass is a master of his craft and surpassable when discussing musical talent.
sean-ward
The concert in Stockholm May 27. 2019 was absolutely fantastic! There is only truly positive things to say. Excellent selection of music pieces. Awesome arrangements by Michael Riesman and performance of the PG Ensemble and of Philip Glass himself. I especially liked "In the Upper Room: Dance IX", "Facades" and "The Photographer: Act III".
murarlaget4
Tim Fain and Lavinia Meijer were absolutely stunning. Great to see Phillip Glass himself performing life for the first time in my life. Interesting interpretations of the music. The poetry in the second part was an unwelcome distraction from the music. Negative value added as far as I'm concerned.
giel-verbeeck
You better be more careful in your announcements.
THERE WAS NO Philip Glass. Just a recital of 3 pieces of him.
People rely on your announcements, so please double check and dont let it be all automatic.
milad-ekramnia
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