Philip Glass
Philip Glass | |
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Background information | |
Born | Baltimore, Maryland, U.S. | January 31, 1937
Genres | |
Occupation(s) | Composer |
Discography | List of compositions |
Years active | 1964–present |
Member of | Philip Glass Ensemble |
Website | philipglass |
Philip Glass (born January 31, 1937) is an American composer and pianist. He is widely regarded as one of the most influential composers of the late 20th century.[1][2][3][4] Glass's work has been associated with minimalism, being built up from repetitive phrases and shifting layers.[5][6] Glass describes himself as a composer of "music with repetitive structures",[7] which he has helped to evolve stylistically.[8][9]
Glass founded the
Early life and education
Glass was born in
Glass developed his appreciation of music from his father, discovering later his father's side of the family had many musicians. His cousin Cevia was a
My father was self-taught, but he ended up having a very refined and rich knowledge of classical, chamber, and contemporary music. Typically he would come home and have dinner, and then sit in his armchair and listen to music until almost midnight. I caught on to this very early, and I would go and listen with him.[18]
The elder Glass promoted both new recordings and a wide selection of composers to his customers, sometimes convincing them to try something new by allowing them to return records they did not like.[18]: 17 His store soon developed a reputation as Baltimore's leading source of modern music.[19] Glass built a sizable record collection from the unsold records in his father's store, including modern classical music such as Hindemith, Bartók, Schoenberg,[20] Shostakovich and Western classical music including Beethoven's string quartets and Schubert's B♭ Piano Trio. Glass cites Schubert's work as a "big influence" growing up.[21] In a 2011 interview, Glass stated that Franz Schubert—with whom he shares a birthday—is his favorite composer.[22]
He studied the flute as a child at the
Glass studied at the
Career
1964–1966: Paris
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In 1964, Glass received a
Glass later wrote in his autobiography Music by Philip Glass in 1987 that the new music performed at Pierre Boulez's Domaine Musical concerts in Paris lacked any excitement for him (with the notable exceptions of music by John Cage and Morton Feldman), but he was deeply impressed by new films and theatre performances. His move away from modernist composers such as Boulez and Stockhausen was nuanced, rather than outright rejection: "That generation wanted disciples and as we didn't join up it was taken to mean that we hated the music, which wasn't true. We'd studied them at Juilliard and knew their music. How on earth can you reject Berio? Those early works of Stockhausen are still beautiful. But there was just no point in attempting to do their music better than they did and so we started somewhere else."[29]
During this time, he encountered revolutionary films of the
In parallel with his early excursions in experimental theatre, Glass worked in winter 1965 and spring 1966 as a music director and composer[33] on a film score (Chappaqua, Conrad Rooks, 1966) with Ravi Shankar and Alla Rakha, which added another important influence on Glass's musical thinking. His distinctive style arose from his work with Shankar and Rakha and their perception of rhythm in Indian music as being entirely additive. He renounced all his compositions in a moderately modern style resembling Milhaud's, Aaron Copland's, and Samuel Barber's, and began writing pieces based on repetitive structures of Indian music and a sense of time influenced by Samuel Beckett: a piece for two actresses and chamber ensemble, a work for chamber ensemble and his first numbered string quartet (No. 1, 1966).[34]
Glass then left Paris for northern India in 1966, where he came in contact with
1967–1974: Minimalism: From Strung Out to Music in 12 Parts
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Glass' musical style is instantly recognizable, with its trademark churning ostinatos, undulating arpeggios and repeating rhythms that morph over various lengths of time atop broad fields of tonal harmony. That style has taken permanent root in our pop-middlebrow sensibility. Glass' music is now indelibly a part of our cultural lingua franca, just a click away on YouTube.
John von Rhein, Chicago Tribune writer[23]
Shortly after arriving in New York City in March 1967, Glass attended a performance of works by
Between summer of 1967 and the end of 1968, Glass composed nine works, including Strung Out (for amplified solo violin, composed in summer of 1967), Gradus (for solo saxophone, 1968), Music in the Shape of a Square (for two flutes, composed in May 1968, an homage to Erik Satie), How Now (for solo piano, 1968) and 1+1 (for amplified tabletop, November 1968) which were "clearly designed to experiment more fully with his new-found minimalist approach".[36] The first concert of Glass's new music was at Jonas Mekas's Film-Makers Cinemathèque (Anthology Film Archives) in September 1968. This concert included the first work of this series with Strung Out (performed by the violinist Pixley-Rothschild) and Music in the Shape of a Square (performed by Glass and Gibson). The musical scores were tacked on the wall, and the performers had to move while playing. Glass's new works met with a very enthusiastic response by the audience which consisted mainly of visual and performance artists who were highly sympathetic to Glass's reductive approach.
Apart from his music career, Glass had a
With 1+1 and Two Pages (composed in February 1969), Glass turned to a more "rigorous approach" to his "most basic minimalist technique, additive process",
After differences of opinion with Steve Reich in 1971,[24] Glass formed the Philip Glass Ensemble (while Reich formed Steve Reich and Musicians), an amplified ensemble including keyboards, wind instruments (saxophones, flutes), and soprano voices.
Glass's music for his ensemble culminated in the four-hour-long Music in Twelve Parts (1971–1974), which began as a single piece with twelve instrumental parts but developed into a cycle that summed up Glass's musical achievement since 1967, and even transcended it—the last part features a twelve-tone theme, sung by the soprano voice of the ensemble. "I had broken the rules of modernism and so I thought it was time to break some of my own rules", according to Glass.[43] Though he finds the term minimalist inaccurate to describe his later work, Glass does accept this term for pieces up to and including Music in 12 Parts, excepting this last part which "was the end of minimalism" for Glass. As he pointed out: "I had worked for eight or nine years inventing a system, and now I'd written through it and come out the other end."[43] He now prefers to describe himself as a composer of "music with repetitive structures".[23]
1975–1979: Another Look at Harmony: The Portrait Trilogy
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Glass continued his work with a series of instrumental works, called Another Look at Harmony (1975–1977). For Glass, this series demonstrated a new start, hence the title: "What I was looking for was a way of combining harmonic progression with the rhythmic structure I had been developing, to produce a new overall structure. ... I'd taken everything out with my early works and it was now time to decide just what I wanted to put in—a process that would occupy me for several years to come."[43]
Parts 1 and 2 of Another Look at Harmony were included in a collaboration with
Einstein on the Beach was followed by further music for projects by the theatre group Mabou Mines such as Dressed like an Egg (1975), and again music for plays and adaptations from prose by
Another series, Fourth Series (1977–79), included music for chorus and organ ("Part One", 1977), organ and piano ("Part Two" and "Part Four", 1979), and music for a radio adaption of Constance DeJong's novel Modern Love ("Part Three", 1978). "Part Two" and "Part Four" were used (and hence renamed) in two dance productions by choreographer Lucinda Childs (who had already contributed to and performed in Einstein on the Beach). "Part Two" was included in Dance (a collaboration with visual artist Sol LeWitt, 1979), and "Part Four" was renamed as Mad Rush, and performed by Glass on several occasions such as the first public appearance of the 14th Dalai Lama in New York City in fall 1981. The piece demonstrates Glass's turn to more traditional models: the composer added a conclusion to an open-structured piece which "can be interpreted as a sign that he [had] abandoned the radical non-narrative, undramatic approaches of his early period", as the pianist Steffen Schleiermacher points out.[46]
In spring 1978, Glass received a commission from the
1980–1986: Completing the Portrait Trilogy: Akhnaten and beyond
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While planning a third part of his "Portrait Trilogy", Glass turned to smaller music theatre projects such as the non-narrative Madrigal Opera (for six voices and violin and viola, 1980), and The Photographer, a biographic study on the photographer Eadweard Muybridge (1982). Glass also continued to write for the orchestra with the score of Koyaanisqatsi (Godfrey Reggio, 1981–1982). Some pieces which were not used in the film (such as Façades) eventually appeared on the album Glassworks (1982, CBS Records), which brought Glass's music to a wider public.
The "Portrait Trilogy" was completed with
Glass again collaborated with Robert Wilson on another opera, the CIVIL warS (1983, premiered in 1984), which also functioned as the final part (the Rome section) of Wilson's epic work by the same name, originally planned for an "international arts festival that would accompany the Olympic Games in Los Angeles".[49] (Glass also composed a prestigious work for chorus and orchestra for the opening of the Games, The Olympian: Lighting of the Torch and Closing ). The premiere of The CIVIL warS in Los Angeles never materialized[clarification needed] and the opera was in the end premiered at the Opera of Rome. Glass's and Wilson's opera includes musical settings of Latin texts by the 1st-century-Roman playwright Seneca and allusions to the music of Giuseppe Verdi and from the American Civil War, featuring the 19th century figures Giuseppe Garibaldi and Robert E. Lee as characters.
In the mid-1980s, Glass produced "works in different media at an extraordinarily rapid pace".[50] Projects from that period include music for dance (Glass Pieces choreographed for New York City Ballet by Jerome Robbins in 1983 to a score drawn from existing Glass compositions created for other media including an excerpt from Akhnaten; and In the Upper Room, Twyla Tharp, 1986), music for theatre productions Endgame (1984) and Company (1983). Beckett vehemently disapproved of the production of Endgame at the American Repertory Theater (Cambridge, Massachusetts), which featured JoAnne Akalaitis's direction and Glass's Prelude for timpani and double bass, but in the end, he authorized the music for Company, four short, intimate pieces for string quartet that were played in the intervals of the dramatization. This composition was initially regarded by the composer as a piece of Gebrauchsmusik ('music for use')—"like salt and pepper ... just something for the table", as he noted.[51] Eventually Company was published as Glass's String Quartet No. 2 and in a version for string orchestra, being performed by ensembles ranging from student orchestras to renowned formations such as the Kronos Quartet and the Kremerata Baltica.
This interest in writing for the string quartet and the string orchestra led to a chamber and orchestral film score for Mishima: A Life in Four Chapters (Paul Schrader, 1984–85), which Glass recently described as his "musical turning point" that developed his "technique of film scoring in a very special way".[52]
Glass also dedicated himself to vocal works with two sets of songs, Three Songs for chorus (1984, settings of poems by
1987–1991: Operas and the turn to symphonic music
Compositions such as Company, Facades and String Quartet No. 3 (the last two extracted from the scores to Koyaanisqatsi and Mishima) gave way to a series of works more accessible to ensembles such as the
A series of orchestral works originally composed for the concert hall commenced with the three-movement
While composing for symphonic ensembles, Glass also composed music for piano, with the cycle of five movements titled Metamorphosis (adapted from music for a theatrical adaptation of Franz Kafka's The Metamorphosis), and for the Errol Morris film The Thin Blue Line, 1988. In the same year Glass met the poet Allen Ginsberg by chance in a book store in the East Village of New York City, and they immediately "decided on the spot to do something together, reached for one of Allen's books and chose Wichita Vortex Sutra",[55] a piece for reciter and piano which in turn developed into a music theatre piece for singers and ensemble, Hydrogen Jukebox (1990).
Glass also returned to chamber music; he composed two String Quartets (No. 4 Buczak in 1989 and No. 5 in 1991), and chamber works which originated as incidental music for plays, such as Music from "The Screens" (1989/1990). This work originated in one of many theater music collaborations with the director JoAnne Akalaitis, who originally asked the Gambian musician Foday Musa Suso "to do the score [for Jean Genet's The Screens] in collaboration with a western composer".[56] Glass had already collaborated with Suso in the film score to Powaqqatsi (Godfrey Reggio, 1988). Music from "The Screens" is on occasion a touring piece for Glass and Suso (one set of tours also included percussionist Yousif Sheronick ), and individual pieces found their way into the repertoire of Glass and the cellist Wendy Sutter. Another collaboration was a collaborative recording project with Ravi Shankar, initiated by Peter Baumann (a member of the band Tangerine Dream), which resulted in the album Passages (1990).
In the late 1980s and early 1990s, Glass's projects also included two highly prestigious opera commissions based on the life of explorers:
Glass remixed the S'Express song "Hey Music Lover", for the b-side of its 1989 release as a single.[57]
1991–1996: Cocteau trilogy and symphonies
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After these operas, Glass began working on a symphonic cycle, commissioned by the conductor Dennis Russell Davies, who told Glass at the time: "I'm not going to let you ... be one of those opera composers who never write a symphony".[58] Glass responded with a pair of three-movement symphonies ("Low" [1992], and Symphony No. 2 [1994]); his first in an ongoing series of symphonies is a combination of the composer's own musical material with themes featured in prominent tracks of the David Bowie/Brian Eno album Low (1977),[59] whereas Symphony No. 2 is described by Glass as a study in polytonality. He referred to the music of Honegger, Milhaud, and Villa-Lobos as possible models for his symphony.[60] With the Concerto Grosso (1992), Symphony No. 3 (1995), a Concerto for Saxophone Quartet and Orchestra (1995), written for the Rascher Quartet (all commissioned by conductor Dennis Russell Davies), and Echorus (1994/95), a more transparent, refined, and intimate chamber-orchestral style paralleled the excursions of his large-scale symphonic pieces. In the four movements of his Third Symphony, Glass treats a 19-piece string orchestra as an extended chamber ensemble. In the third movement, Glass re-uses the chaconne as a formal device; one commentator characterized Glass's symphony as one of the composer's "most tautly unified works".[61][62] The third Symphony was closely followed by a fourth, subtitled Heroes (1996), commissioned the American Composers Orchestra. Its six movements are symphonic reworkings of themes by Glass, David Bowie, and Brian Eno (from their album "Heroes", 1977); as in other works by the composer, it is also a hybrid work and exists in two versions: one for the concert hall, and another, shorter one for dance, choreographed by Twyla Tharp.
Another commission by Dennis Russell Davies was a second series for piano, the Etudes for Piano (dedicated to Davies as well as the production designer
Glass's prolific output in the 1990s continued to include operas with an opera triptych (1991–1996), which the composer described as an "homage" to writer and film director Jean Cocteau, based on his prose and cinematic work: Orphée (1950), La Belle et la Bête (1946), and the novel Les Enfants terribles (1929, later made into a film by Cocteau and Jean-Pierre Melville, 1950). In the same way the triptych is also a musical homage to the work of the group of French composers associated with Cocteau, Les Six (and especially to Glass's teacher Darius Milhaud), as well as to various 18th-century composers such as Gluck and Bach whose music featured as an essential part of the films by Cocteau.
The inspiration of the first part of the trilogy, Orphée (composed in 1991, and premiered in 1993 at the
For the second opera, La Belle et la Bête (1994, scored for either the Philip Glass Ensemble or a more conventional chamber orchestra), Glass replaced the soundtrack (including
1997–2004: Symphonies, opera, and concertos
In the late 1990s and early 2000s, Glass's lyrical and romantic styles peaked with a variety of projects: operas, theatre and film scores (Martin Scorsese's Kundun, 1997, Godfrey Reggio's Naqoyqatsi, 2002, and Stephen Daldry's The Hours, 2002), a series of five concerts, and three symphonies centered on orchestra-singer and orchestra-chorus interplay. Two symphonies, Symphony No. 5 "Choral" (1999) and Symphony No. 7 "Toltec" (2004), and the song cycle Songs of Milarepa (1997) have a meditative theme. The operatic Symphony No. 6 Plutonian Ode (2002) for soprano and orchestra was commissioned by the Brucknerhaus, Linz, and Carnegie Hall in celebration of Glass's sixty-fifth birthday, and developed from Glass's collaboration with Allen Ginsberg (poet, piano—Ginsberg, Glass), based on his poem of the same name.
Besides writing for the concert hall, Glass continued his ongoing operatic series with adaptions from literary texts: The Marriages of Zones 3, 4 and 5 ([1997] story-libretto by Doris Lessing), In the Penal Colony (2000, after the story by Franz Kafka), and the chamber opera The Sound of a Voice (2003, with David Henry Hwang), which features the Pipa, performed by Wu Man at its premiere. Glass also collaborated again with the co-author of Einstein on the Beach, Robert Wilson, on Monsters of Grace (1998), and created a biographic opera on the life of astronomer Galileo Galilei (2001).
In the early 2000s, Glass started a series of five concerti with the
2005–2007: Songs and Poems
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Waiting for the Barbarians, an opera from J. M. Coetzee's novel (with the libretto by Christopher Hampton), had its premiere performance in September 2005. Glass defined the work as a "social/political opera", as a critique on the Bush administration's war in Iraq, a "dialogue about political crisis", and an illustration of the "power of art to turn our attention toward the human dimension of history".[70] While the opera's themes are Imperialism, apartheid, and torture, the composer chose an understated approach by using "very simple means, and the orchestration is very clear and very traditional; it's almost classical in sound", as the conductor Dennis Russell Davies notes.[71][72]
Two months after the premiere of this opera, in November 2005, Glass's
The Passion of Ramakrishna (2006), was composed for the
A cello suite, composed for the cellist Wendy Sutter, Songs and Poems for Solo Cello (2005–2007), was equally lauded by critics. It was described by Lisa Hirsch as "a major work, ... a major addition to the cello repertory" and "deeply Romantic in spirit, and at the same time deeply Baroque".[77] Another critic, Anne Midgette of The Washington Post, noted the suite "maintains an unusual degree of directness and warmth"; she also noted a kinship to a major work by Johann Sebastian Bach: "Digging into the lower registers of the instrument, it takes flight in handfuls of notes, now gentle, now impassioned, variously evoking the minor-mode keening of klezmer music and the interior meditations of Bach's cello suites".[78] Glass himself pointed out "in many ways it owes more to Schubert than to Bach".[79]
In 2007, Glass also worked alongside Leonard Cohen on an adaptation of Cohen's poetry collection Book of Longing. The work, which premiered in June 2007 in Toronto, is a piece for seven instruments and a vocal quartet, and contains recorded spoken word performances by Cohen and imagery from his collection.
Appomattox, an opera surrounding the events at the end of the American Civil War, was commissioned by the San Francisco Opera and premiered on October 5, 2007. As in Waiting for the Barbarians, Glass collaborated with the writer Christopher Hampton, and as with the preceding opera and Symphony No. 8, the piece was conducted by Glass's long-time collaborator Dennis Russell Davies, who noted "in his recent operas the bass line has taken on an increasing prominence,... (an) increasing use of melodic elements in the deep register, in the contrabass, the contrabassoon—he's increasingly using these sounds and these textures can be derived from using these instruments in different combinations. ... He's definitely developed more skill as an orchestrator, in his ability to conceive melodies and harmonic structures for specific instrumental groups. ... what he gives them to play is very organic and idiomatic."[72]
Apart from this large-scale opera, Glass added a work to his catalogue of theater music in 2007, and continuing—after a gap of twenty years—to write music for the dramatic work of Samuel Beckett. He provided a "hypnotic" original score for a compilation of Beckett's short plays
2008–present: Chamber music, concertos, and symphonies
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Between 2008 and 2010, Glass continued to work on a series of chamber music pieces which started with Songs and Poems: the Four Movements for Two Pianos (2008, premiered by Dennis Davies and Maki Namekawa in July 2008), a Sonata for Violin and Piano composed in "the
Other works for the theater were a score for Euripides' The Bacchae (2009, directed by JoAnne Akalaitis), and Kepler (2009), yet another operatic biography of a scientist or explorer. The opera is based on the life of 17th century astronomer Johannes Kepler, against the background of the Thirty Years' War, with a libretto compiled from Kepler's texts and poems by his contemporary Andreas Gryphius. It is Glass's first opera in German, and was premiered by the Bruckner Orchestra Linz and Dennis Russell Davies in September 2009. 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, glowing colors, the character of many orchestral solos and the poignant emphasis on bass instruments".[82]
In 2009 and 2010, Glass returned to the concerto genre.
In August 2011, Glass presented a series of music, dance, and theater performances as part of the Days and Nights Festival.[86] Along with the Philip Glass Ensemble, scheduled performers include Molissa Fenley and Dancers, John Moran with Saori Tsukada, as well as a screening of Dracula with Glass's score.[87]
Other works completed since 2010 include
His opera The Lost , based on a play by Austrian playwright and novelist Peter Handke, Die Spuren der Verirrten (2007), premiered at the Musiktheater Linz} in April 2013, conducted by Dennis Russell Davies and directed by David Pountney.
On June 28, 2013, Glass's piano piece Two Movements for Four Pianos was premiered at the Museum Kunstpalast, performed by Katia and Marielle Labèque, Maki Namekawa, and Dennis Russell Davies.[97]
On January 17, 2014, Glass's collaboration with Angélique Kidjo Ifé: Three Yorùbá Songs for Orchestra premiered at the Philharmonie Luxembourg.[98]
In May 2015, Glass's Double Concerto for Two Pianos was premiered by Katia and Marielle Labèque, Gustavo Dudamel and the Los Angeles Philharmonic.
Glass published his memoir, Words Without Music, in 2015.[99] His 11th symphony, commissioned by the Bruckner Orchestra Linz, the Istanbul International Music Festival, and the Queensland Symphony Orchestra, premiered on January 31, 2017, Glass's 80th birthday, at Carnegie Hall, Dennis Russell Davies conducting the Bruckner Orchestra.[100][101] On September 22, 2017, his Piano Concerto No. 3 was premiered by pianist Simone Dinnerstein with the strings of the chamber orchestra A Far Cry at Jordan Hall at the New England Conservatory of Music, Boston, Massachusetts.[102] Glass' String Quartet No. 8 was premiered by the JACK Quartet at Centennial Concert Hall in Winnipeg, Canada on February 1, 2018. The work was commissioned by the Winnipeg Symphony Orchestra New Music Festival, the Winnipeg Symphony Orchestra, and Carnegie Hall. [103]
Glass's 12th symphony was premiered by the Los Angeles Philharmonic under John Adams at the Walt Disney Concert Hall in Los Angeles on January 10, 2019. Commissioned by the orchestra, the work is based on David Bowie's 1979 album Lodger, it completes Glass's trilogy of symphonies based on Bowie's Berlin Trilogy of albums.[104]
In collaboration with stage auteur, performer and co-director (with Kirsty Housley) Phelim McDermott, Glass composed the score for the new work Tao of Glass, which premiered at the 2019 Manchester International Festival[105] before touring to the 2020 Perth Festival.
During the COVID-19 pandemic, Glass continued composing, with three major works for opera and symphony premiering in 2021 and 2022. Glass' opera
On November 7, 2023, Glass and
Influences and collaborations
Glass describes himself as a "classicist", pointing out he is trained in harmony and counterpoint and studied such composers as Franz Schubert, Johann Sebastian Bach, and Wolfgang Amadeus Mozart with Nadia Boulanger.[111] Aside from composing in the Western classical tradition, his music has ties to rock, ambient music, electronic music, and world music. Early admirers of his minimalism include musicians Brian Eno and David Bowie.[112] In the 1990s, Glass composed the aforementioned symphonies Low (1992) and Heroes (1996), thematically derived from the Bowie-Eno collaboration albums Low and "Heroes" composed in late 1970s Berlin.
Glass has collaborated with recording artists such as Paul Simon, Suzanne Vega,[113] Mick Jagger,[114] Leonard Cohen, David Byrne, Uakti, Natalie Merchant,[115] S'Express (Glass remixed their track Hey Music Lover in 1989)[116] and Aphex Twin (yielding an orchestration of Icct Hedral in 1995 on the Donkey Rhubarb EP). Glass's compositional influence extends to musicians such as Mike Oldfield (who included parts from Glass's North Star in Platinum), and bands such as Tangerine Dream and Talking Heads. Glass and his sound designer Kurt Munkacsi produced the American post-punk/new wave band Polyrock (1978 to the mid-1980s), as well as the recording of John Moran's The Manson Family (An Opera) in 1991, which featured punk legend Iggy Pop, and a second (unreleased) recording of Moran's work featuring poet Allen Ginsberg.
Glass counts many artists among his friends and collaborators, including visual artists (Richard Serra, Chuck Close, Fredericka Foster),[117][118] writers (Doris Lessing, David Henry Hwang, Allen Ginsberg), film and theatre directors (including Errol Morris, Robert Wilson, JoAnne Akalaitis, Godfrey Reggio, Paul Schrader, Martin Scorsese, Christopher Hampton, Bernard Rose, and many others), choreographers (Lucinda Childs, Jerome Robbins, Twyla Tharp), and musicians and composers (Ravi Shankar, David Byrne, the conductor Dennis Russell Davies, Foday Musa Suso, Laurie Anderson, Linda Ronstadt, Paul Simon, Pierce Turner, Joan La Barbara, Arthur Russell, David Bowie, Brian Eno, Roberto Carnevale, Patti Smith, Aphex Twin, Lisa Bielawa, Andrew Shapiro, John Moran, Bryce Dessner and Nico Muhly). Among recent collaborators are Glass's fellow New Yorker Woody Allen and Stephen Colbert.[119]
Glass had begun[clarification needed] using the Farfisa portable organ out of convenience,[120] and he has used it in concert.[121] It is featured on several recordings including North Star[122] and Dance Nos. 1–5.[123][124]
Music for film
Glass has composed many film scores, starting with the orchestral score for
The year after scoring Hamburger Hill (1987), Glass began a long collaboration with the filmmaker Errol Morris with his music for Morris's celebrated documentaries, including The Thin Blue Line (1988) and A Brief History of Time (1991).[125] He continued composing for the Qatsi trilogy with the scores for Powaqqatsi (1988) and Naqoyqatsi (2002). In 1995, he 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 Show (1998), which uses music from Powaqqatsi, Anima Mundi and Mishima, as well as three original tracks by Glass. In the 1990s, he also composed scores for Bent (1997) and the supernatural horror film Candyman (1992) and its sequel, Candyman: Farewell to the Flesh (1995), plus a film adaptation of Joseph Conrad's The Secret Agent (1996).
In 1999, he finished a new soundtrack for the 1931 film Dracula. The Hours (2002) 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. 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"[126] in the film. The Hours was followed by another Morris documentary, The Fog of War (2003). In the mid-2000s Glass provided the scores to films such as Secret Window (2004), Neverwas (2005), The Illusionist and Notes on a Scandal, garnering his third Academy Award nomination for the latter. Glass's most recent film scores include No Reservations (Glass makes a brief cameo in the film sitting at an outdoor café), Cassandra's Dream (2007), Les Regrets (2009), Mr Nice (2010), the Brazilian film Nosso Lar (2010) and Fantastic Four (2015, in collaboration with Marco Beltrami). In 2009, Glass composed original theme music for Transcendent Man, about the life and ideas of Ray Kurzweil by filmmaker Barry Ptolemy.
In the 2000s, Glass's work from the 1980s again became known to wider public through various media. In 2005, his Concerto for Violin and Orchestra (1987) was featured in the French film
Glass's music was featured in two award-winning films by Russian director Andrey Zvyagintsev, Elena (2011) and Leviathan (2014).
For television, Glass composed the theme for Night Stalker (2005) and the soundtrack for Tales from the Loop (2020). Glass's "Confrontation and Rescue" (from Satyagraha) was used in the ending of Season 3 Chapter 6 of Stranger Things (2019), whilst "Window of Appearances", "Akhnaten and Nefertiti" (from Akhnaten) and "Prophecies" (from Koyaanisqatsi) were used in the finale of Season 4 Volume 1 (2022).
Other business ventures
Record labels
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In 1970, Glass and
Looking Glass Studios
In 1992, Glass built his own recording studio in New York City and named it Looking Glass Studios. In addition to Glass' own recording projects, the studio hosted recording projects of notable artists including Beck, Bjork, Sheryl Crow, The Cure, Grace Jones, Lou Reed, and Roger Waters before its closure in February 2009.[132]
Personal life
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Glass lives in
Glass has been married four times; he has four children and one granddaughter.
- His first marriage was to theater director JoAnne Akalaitis (m. 1965, div. 1980), with whom he has two children: Juliet (b. 1968) and Zachary (b. 1971).
- His second marriage was to Luba Burtyk (m. 1980), a physician.[135][136]
- His third wife, the artist Candy Jernigan, died of liver cancer in 1991, aged 39.
- Glass's fourth marriage was to restaurant manager, Holly Critchlow (m. in 2001), whom he later divorced.[15] They had two sons, Cameron (b. 2002) and Marlowe (b. 2003).
He was romantically involved with cellist
Glass is the
Critical reception
![](http://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/MX_PHILIP_GLASS_BELLAS_ARTES_%2827224066057%29.jpg/220px-MX_PHILIP_GLASS_BELLAS_ARTES_%2827224066057%29.jpg)
Musical Opinion said, "Philip Glass must be one of the most influential living composers."[143] The National Endowment for the Arts, while noting that many of his operas have been produced by the world's leading opera houses said, "He is the first composer to win a wide, multigenerational audience in the opera house, the concert hall, the dance world, in film, and in popular music."[144] Classical Music Review called his opera Akhnaten "a musically sophisticated and imposing work".[145] The New York Metropolitan Opera's production of Akhnaten won the Grammy Award for Best Opera Recording in 2022.[146]
Justin Davidson of New York magazine has criticized Glass, saying, "Glass never had a good idea he didn't flog to death: He repeats the haunting scale 30 mind-numbing times, until it's long past time to go home."[147] Richard Schickel of Time criticized Glass's score for The Hours, saying, "This ultimately proves insufficient to lend meaning to their lives or profundity to a grim and uninvolving film, for which Philip Glass unwittingly provides the perfect score—tuneless, oppressive, droning, painfully self-important."[148]
Michael White of The Daily Telegraph described Glass's Violin Concerto No. 2 as being
as rewarding as chewing gum that's lost its flavour, and they're not dissimilar activities. This new concerto is unmitigated trash: the usual strung out sequences of arpeggiated banality, driven by the rise and fall of fast-moving but still leaden triplets, and vacuously formulaic. Philip Glass is no Vivaldi, a composer who even at his most wallpaper baroque still has something to say. Glass has nothing—though he presumably deludes himself into thinking he does: hence the preponderance of slow, reflective solo writing in the piece which assumes there's something to reflect on.[149]
Documentaries about Glass
- Music with Roots in the Aether: Opera for Television (1976). Tape 2: Philip Glass. Produced and directed by Robert Ashley
- Philip Glass, from Four American Composers (1983); directed by Peter Greenaway
- A Composer's Notes: Philip Glass and the Making of an Opera (1985); directed by Michael Blackwood
- Einstein on the Beach: The Changing Image of Opera (1986); directed by Mark Obenhaus
- Looking Glass (2005); directed by Éric Darmon
- Glass: A Portrait of Philip in Twelve Parts (2007); directed by Scott Hicks
Awards and nominations
Golden Globe Awards
- Nominated: Kundun (1997)
- Won: The Truman Show (1998)
- Nominated: The Hours (2002)
BAFTA Awards
Academy Awards
- Nominated: Kundun (1997)
- Nominated: The Hours (2002)
- Nominated: Notes on a Scandal (2006)
Other
- Musical America Musician of the Year (1985)[150]
- Member of the Ordre des Arts et des Lettres (France) – Chevalier (1995)[151]
- Member of the American Academy of Arts and Letters, Department of Music (2003)[152]
- Classic Brit Award for Contemporary Composer of the Year (The Hours) (2004)[153]
- Critics' Choice Award for Best Composer – The Illusionist (2007)[154]
- 18th International Palm Springs Film Festival Award (2007)[155]
- Fulbright Lifetime Achievement Award Laureate (2009)[156]
- Member of the American Philosophical Society (2009)[157]
- American Classical Music Hall of Fame (2010)[158]
- NEA Opera Honors Award (2010)[159]
- Praemium Imperiale (2012)[160]
- Dance Magazine Award (2013)[161]
- Honorary Doctor of Music, Juilliard School (2014)[162]
- Louis Auchincloss Prize presented by the Museum of the City of New York (2014)[163]
- Eleventh Glenn Gould Prize Laureate (2015)[164]
- National Medal of Arts (2015)[165]
- Chicago Tribune Literary Award (for memoir Words Without Music) (2016)[166]
- Drama Desk Award for Outstanding Music in a Play – The Crucible (2016)[167]
- Carnegie Hall (New York) 2017–2018 Richard and Barbara Debs Composer's Chair (2017)[168]
- Hollywood Music in Media Awards Best Original Documentary Score – Jane (2017)[169]
- The Society of Composers & Lyricists (SCL) Lifetime Achievement Award (2017)[170]
- 11th Annual Cinema Eye Honors Outstanding Achievement in Original Music Score – Jane (2018)[171]
- Grand Prix France Music Muses Award (for memoir Words Without Music) (2018)
- Kennedy Center Honors (2018)[172]
- Recording Academy Trustees Award (2020)[173]
- ASCAP Television Theme of the Year, Tales from the Loop, co-composer Paul Leonard-Morgan (2021)[174]
- BBVA Foundation Frontiers of Knowledge Award 14th Edition (2022)[175]
- University of Chicago Alumni Award (2023)[176]
Compositions
Bibliography
- Glass, Philip (1987). Music by Philip Glass. Edited and with supplementary material by Robert T. Jones (1st ed.). New York: OCLC 15521553.
- Reprinted in 1995 by ISBN 978-0-306-80636-0) with the addition of a new foreword by Glass and an updated music catalog and discography with 52 black & white photographs.[177]
- Reprinted in 1995 by
- —— (2015). Words without music: a memoir. London: OCLC 908632624.
- With Brumbach, Linda; Regas, Alisa E. (2023). Philip Glass Piano Etudes: The Complete Folios 1-20 & Essays from 20 Fellow Artists. New York: ISBN 978-1648291883.
See also
References
- ^ "Naxos Classical Music Spotlight podcast: Philip Glass Heroes Symphony". Archived from the original on April 2, 2023. Retrieved January 21, 2023.
- ^ "The Most Influential People in Classical and Dance", New York, May 8, 2006, retrieved November 10, 2008
- ^ O'Mahony, John (November 24, 2001), "The Guardian Profile: Philip Glass", The Guardian, London, retrieved November 10, 2008
- ^ Merriam-Webster's Encyclopedia (2000), "Glass, Philip," Encyclopaedia Britannica Inc., p. 659. There, Glass is described as "today perhaps the world's most famous living composer."
- ISSN 0886-3032.
- ^ Merriam-Webster's Encyclopedia (2000), "Glass, Philip," Encyclopaedia Britannica Inc., p. 659. There, Glass is described as "today perhaps the world's most famous living composer."
- ^ Biography, PhilipGlass.com, archived from the original on August 4, 2013, retrieved November 10, 2008,
The new musical style that Glass was evolving was eventually dubbed "minimalism". Glass himself never liked the term and preferred to speak of himself as a composer of "music with repetitive structures". Much of his early work was based on the extended reiteration of brief, elegant melodic fragments that wove in and out of an aural tapestry.
- ^ Smith, Ethan (January 18, 1999), "Is Glass Half Empty?", New York, retrieved November 10, 2008
- ^ Smith, Steve (September 23, 2007), "If Grant Had Been Singing at Appomattox", The New York Times
- ^ Scott Hicks (2007). Glass: A Portrait of Philip in Twelve Parts. Event occurs at 33:20.
- ^ Contemporary Authors. New Revision Series. Vol. 131 (Farmington Hills, MI: Thomson Gale, 2005):169–180.
- ^ "Philip Glass Biography – Facts, Birthday, Life Story". Biography.com. Retrieved March 29, 2013.
- ^ "Philip Glass Biography (1937–)". Filmreference.com. Retrieved September 20, 2011.
- ISBN 978-0-87140-438-1.
- ^ a b John O'Mahony (November 24, 2001). "When less means more". The Guardian. London. Retrieved March 29, 2013.
- ISBN 978-1-4053-8321-9. Retrieved March 20, 2012.
- ISSN 0261-3077. Retrieved March 27, 2016.
- ^ ISBN 1-63149-143-1
- ^ "Composer Philip Glass's Childhood Gig". The Wall Street Journal. May 12, 2015. Retrieved June 26, 2021.
- ^ a b Gordinier, Jeff (March 2008), "Wiseguy: Philip Glass Uncut", Details, archived from the original on August 9, 2014, retrieved November 10, 2008
- ^ "Philip Glass on making music with no frills", The Independent, London, June 29, 2007, archived from the original on August 25, 2011, retrieved November 10, 2008
- ^ Skipworth, Mark (January 31, 2011). "Philip Glass shows no signs of easing up". The Daily Telegraph. London. Archived from the original on January 11, 2022.
- ^ a b c "Philip Glass, winner of 2016 Tribune Literary Award, reflects on a life well composed" by John von Rhein, Chicago Tribune, October 26, 2016
- ^ a b c d e f g h i j Schwarz 1996, p. [page needed]
- ^ a b Jonathan Cott, "Conversation Philip Glass on La Belle et la Bête, booklet notes to the recording, Nonesuch 1995
- ^ Ev Grimes: "Interview: Education" in Kostelanetz 1999, p. 25
- ^ Potter 2000, p. 253.
- ^ Kostelanetz 1999, p. 109.
- ^ Wroe, Nicholas (October 13, 2007). "Play it again ..." The Guardian. Retrieved April 19, 2016.
- ^ ISBN 0-06-015823-9
- ^ a b Potter 2000, pp. 266–269
- ^ Potter 2000, p. 255.
- ^ Potter 2000, pp. 257–258.
- ^ Joan La Barbara: "Philip Glass and Steve Reich: Two from the Steady State School" in Kostelanetz 1999, pp. 40–41
- ^ Richard Serra, Writings Interviews, Chicago: The University of Chicago Press, 1994, p. 7
- ^ Potter 2000, p. 277.
- ^ "Philip Glass: Composer and...Taxi Driver?". Interlude.hk. September 26, 2015. Retrieved November 7, 2019.
- ^ Glass in conversation with Chuck Close and William Bartman, in, Joanne Kesten (ed.), The Portraits Speak: Chuck Close in conversation with 27 of his subjects, A.R.T. Press, New York, 1997, p. 170
- ^ Potter 2000, p. 252.
- ^ Potter 2000, p. 340.
- ^ Tim Page, booklet notes to the album Einstein on the Beach, Nonesuch 1993
- ^ Booklet notes to the recording Early Voice, Orange Mountain Music, 2002
- ^ a b c Tim Page: "Music in 12 Parts" in Kostelanetz 1999, p. 98
- ^ a b Tim Page, liner notes to the recording of Einstein on the Beach, Nonesuch Records 1993
- ^ Kostelanetz 1999, p. 58.
- ^ Steffen Schleiermacher, booklet notes to his recording of Glass's "Early Keyboard Music", MDG Records, 2001
- ^ Potter 2000, p. 260.
- ^ Kostelanetz 1999, p. 269.
- ^ David Wright, booklet notes to the first recording of the opera, released on Nonesuch Records, 1999
- ^ Schwarz 1996, p. 151.
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- ^ "But Is it Music?". In Their Own Words; 20th-Century Composers. Episode 2. March 21, 2014. BBC.
- ^ Maycock 2002, p. 71.
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- ^ Maycock 2002, p. 90.
- ^ Booklet notes by Oliver Binder to "American Piano music", Initativkreis Ruhr/Orange Mountain Music 2009
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- ^ "Concerto for Cello and Orchestra on ChesterNovello website". Chesternovello.com. May 31, 2005. Retrieved September 20, 2011.
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- ^ Philip Glass, notes to the premiere recording of "Waiting for the Barbarians, Orange Mountain Music 2008
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- ^ San Jose Mercury News
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- Orange County Register, September 18, 2006
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- ^ Nico Muhly, "There will be people who are horrified by these ideas", The Guardian, May 22, 2009
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- ^ "Culture Monster". Los Angeles Times. November 19, 2009.
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- ^ "Konzertprogramm" | Klavier-Festival Ruhr | Düsseldorf | Museum Kunstpalast | Robert-Schumann-Saal | 28. Juni 2013 | (printed program, German)
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- ISBN 978-0-87140-438-1.
- ^ Bruckner Orchestra Linz – Celebrating Philip Glass's 80th Birthday, Carnegie Hall, January 31, 2017
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- ^ Roy, Sanjoy (July 15, 2019). "Tao of Glass review – golden odyssey through Philip Glass's music". The Guardian. Retrieved December 28, 2019.
- ^ "Circus Days and Nights at Cirkus Cirkor". CirkusCirkor.com. Retrieved January 2, 2024.
- ^ "Circus Days and Nights". David Henry Hwang. April 7, 2022. Retrieved January 2, 2024.
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- ^ "Truth in our Time - Toronto". National Arts Centre. Retrieved January 2, 2024.
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- ^ Episode 6006 (1/12/2010), NoFactZone.net, January 13, 2010, archived from the original on July 5, 2011, retrieved May 24, 2010
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- ^ Butler, Isaac (March 16, 2018)."Errol Morris on His Movie—and Long Friendship—With Stephen Hawking," Slate, retrieved July 30, 2018.
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- ^ "History".
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- ^ "APS Member History". search.amphilsoc.org. Retrieved April 23, 2021.
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- ^ "NEA Chairman Rocco Landesman Announces Recipients of the 2010 NEA Opera Honors". June 24, 2010. Archived from the original on December 7, 2010. Retrieved July 22, 2010.
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- ^ "Chicago, IL (2016 Chicago Tribune Literary Award / Philip Glass, Solo Piano and Discussion of Words Without Music)". Philip Glass. Archived from the original on August 6, 2018. Retrieved August 6, 2018.
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- ^ "Star studded audience attends the Hollywood Music in Media awards to honor outstanding composers and songwriters in film, TV and videogames". Hollywood Music In Media Awards. Archived from the original on August 6, 2018. Retrieved August 6, 2018.
- ^ "The Society of Composers & Lyricists to Present Their Highest Honor on Prolific Composer Philip Glass". 24–7 press release. December 10, 2017. Retrieved August 6, 2018.
- ^ "The results are in!". Cinema Eye honors. January 11, 2018. Retrieved August 6, 2018.
- ^ Kreps, Daniel (July 25, 2018). "Cher, Hamilton, Philip Glass to Receive Kennedy Center Honors". Rolling Stone. Retrieved August 6, 2018.
- ^ "Chicago, Roberta Flack, Isaac Hayes, Iggy Pop, John Prine, Public Enemy and Sister Rosetta Tharpe to Be Honored with Recording Academy Lifetime Achievement Award". GRAMMY.com. December 18, 2019.
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- ^ Philip Glass. "Music By Philip Glass". philipglass.com. Retrieved March 6, 2018.
Sources
- ISBN 0-520-21491-9(paperback).
- Maycock, Robert (2002). Glass: A Biography of Philip Glass. Sanctuary Publishing. ISBN 978-1-86074-347-4.
- Potter, Keith (2000). Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass. Music in the Twentieth Century series. Cambridge, UK; New York City: Cambridge University Press. ISBN 978-0-521-48250-9.
- Schwarz, K. Robert (1996). Minimalists. 20th-Century Composers Series. London: Phaidon Press. ISBN 978-0-7148-3381-1.
Further reading
- Bartman, William and Kesten, Joanne (eds). The Portraits Speak: Chuck Close in Conversation with 27 of his subjects, New York: A.R.T. Press, 1997. ISBN 978-0-923183-18-9.
- Duckworth, William (1995, 1999). Talking Music: Conversations With John Cage, Philip Glass, Laurie Anderson, and Five Generations of American Experimental Composers. New York City: Da Capo Press. ISBN 978-0-306-80893-7(1999 edition).
- Knowlson, James (2004). Damned to Fame: The Life of Samuel Beckett, New York: Grove Press. ISBN 978-0-8021-4125-5.
- OCLC 18215156.
- Richardson, John (1999). Singing Archaeology: Philip Glass's "Akhnaten". Wesleyan University Press. ISBN 978-0-8195-6317-0.
- Ross, Alex (February 13–20, 2012). "Musical Events: Number Nine". The New Yorker. Vol. 88, no. 1. pp. 116–117. Retrieved November 13, 2014.
- Zimmerman, Walter, Desert Plants – Conversations with 23 American Musicians, Berlin: Beginner Press in cooperation with Mode Records, 2020 (originally published in 1976 by A.R.C., Vancouver). The 2020 edition includes a cd featuring the original interview recordings with Larry Austin, Robert Ashley, Jim Burton, John Cage, Philip Corner, Morton Feldman, Philip Glass, Joan La Barbara, Garrett List, Alvin Lucier, John McGuire, Charles Morrow, J.B. Floyd (on Conlon Nancarrow), Pauline Oliveros, Charlemagne Palestine, Ben Johnston (on Harry Partch), Steve Reich, David Rosenboom, Frederic Rzewski, Richard Teitelbaum, James Tenney, Christian Wolff, and La Monte Young.
External links
![](http://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png)
- Official website
- Philip Glass at AllMusic
- Philip Glass discography at Discogs
- Philip Glass at IMDb
- Philip Glass at Curlie
- Two interviews with Glass by Bruce Duffie, February 19, 1982, and July 29, 1987