Philip Glass Half-Full(commentarymagazine.com)
commentarymagazine.com
Philip Glass Half-Full
https://www.commentarymagazine.com/article/philip-glass-half-full/
9 comments
I have a love/hate relationship with Glass's music. When he's on point, his music can be absolutely amazing: structured, melodic, mood generating.
When he's not, his music sounds like the output of a really simple music generation algorithm and boring. (https://www.youtube.com/watch?v=nNiOqa1nWgI)
However, I'll always be in debt to Glass for getting me into modern music and musical Minimalism, which led me to Steve Reich. Who strangely also become more melodic as his musical ideas progressed. For me my favorite piece is Music for 18 Musicians, good recordings of which send you to the most sublime and transformative musical place for an hour -- that I've ever heard.
https://www.youtube.com/watch?v=zLckHHc25ww
His music is also difficult, some pieces can take up to a year for a group to prepare, but for reasons that are entirely different than what most musicians think of as "difficult".
Another favorite https://www.youtube.com/watch?v=edKE10Yz_zs
Reich is also one of those composers who you can see a clear musical progression in his career: from almost avante garde experiments with recordings and typical minimalist focuses on single musical ideas (usually phasing), in his later career turned to fantastic rhythms and harmonies and the idea of slowly evolving musical themes. The music sounds almost the same as you listen to it, but before you know it you are somewhere entirely different from where you started. I find myself often skipping back a minute or so mid song to relive the journey and figure out what happened.
When he's not, his music sounds like the output of a really simple music generation algorithm and boring. (https://www.youtube.com/watch?v=nNiOqa1nWgI)
However, I'll always be in debt to Glass for getting me into modern music and musical Minimalism, which led me to Steve Reich. Who strangely also become more melodic as his musical ideas progressed. For me my favorite piece is Music for 18 Musicians, good recordings of which send you to the most sublime and transformative musical place for an hour -- that I've ever heard.
https://www.youtube.com/watch?v=zLckHHc25ww
His music is also difficult, some pieces can take up to a year for a group to prepare, but for reasons that are entirely different than what most musicians think of as "difficult".
Another favorite https://www.youtube.com/watch?v=edKE10Yz_zs
Reich is also one of those composers who you can see a clear musical progression in his career: from almost avante garde experiments with recordings and typical minimalist focuses on single musical ideas (usually phasing), in his later career turned to fantastic rhythms and harmonies and the idea of slowly evolving musical themes. The music sounds almost the same as you listen to it, but before you know it you are somewhere entirely different from where you started. I find myself often skipping back a minute or so mid song to relive the journey and figure out what happened.
I'm a Romantic music fan who hates most 20th century classical music and so I fully expected to hate Glass as well, but his string quartets are not only clearly melodic and structured in time, but some of the most sublime music I've ever heard. http://www.philipglass.com/music/recordings/kronos_quartet_p...
music for elevators was the follow up to... Nevermind. Wrong quantum universe.
Here's a 1990 Glass piece that's extremely melodic - not only that, but two melodic subjects are exposed then superimposed in a powerful counterpoint.
The first subject is exposed at 1:55, the second at 4:10, and both are in counterpoint around 5:10.
The bass, as you point out, also becomes quite melodic in the last minute, while providing harmony to the first subject.
https://www.youtube.com/watch?v=HyBqdTgnpNQ
The first subject is exposed at 1:55, the second at 4:10, and both are in counterpoint around 5:10.
The bass, as you point out, also becomes quite melodic in the last minute, while providing harmony to the first subject.
https://www.youtube.com/watch?v=HyBqdTgnpNQ
Great info. Glass is possibly the first musician that I actually "listened" to as a child after seeing one of his Sesame Street clips [1].
The author of this article claims that he failed "to structure time in a profoundly meaningful way" and perhaps I don't understand what they are claiming but that clip alone did the opposite in a profound way for me. It actually unlocked in my young brain what music is made of.
[1] https://www.youtube.com/watch?v=ch-R1aIM-C0
The author of this article claims that he failed "to structure time in a profoundly meaningful way" and perhaps I don't understand what they are claiming but that clip alone did the opposite in a profound way for me. It actually unlocked in my young brain what music is made of.
[1] https://www.youtube.com/watch?v=ch-R1aIM-C0
Agree 100%. However I even find earlier pieces such as "Music in 12 Parts" hauntingly beautiful and melodic in the way that trance/ambient can be. True it doesn't have the same purpose, or effect, of a narrative song, but it isn't intended to.
I see a strong analogy between Glass's early works and Brian Eno's period starting with "Music For Elevators". They are both asking a fundamental question -- what is music "supposed to do?" -- and attempting to break down centuries of expectation, to build up a new way of communicating from the ground up.
Interestingly, both artists evolved from their early radical roots, re-introducing more approachable narrative tropes, to create a new hybrid style that melds hard-core minimalism with the desire for a storytelling arc. Often, they did so in collaboration.
Examples: Passages (Glass / Shankar), Achtung Baby (U2 / Eno)
I see a strong analogy between Glass's early works and Brian Eno's period starting with "Music For Elevators". They are both asking a fundamental question -- what is music "supposed to do?" -- and attempting to break down centuries of expectation, to build up a new way of communicating from the ground up.
Interestingly, both artists evolved from their early radical roots, re-introducing more approachable narrative tropes, to create a new hybrid style that melds hard-core minimalism with the desire for a storytelling arc. Often, they did so in collaboration.
Examples: Passages (Glass / Shankar), Achtung Baby (U2 / Eno)
Eno's recording of Music for Airports (not "elevators", that is something of a howler) had an interesting compositional method which was based on overlapping tape loops, with the loops having different periods.
You can hear the notes coming into and out of phase (over very long time periods) sometimes playing almost over the top of one another, and sometimes with silent spaces. Because of this, it has a sub rosa mathematical side.
Eno was influenced by Glass, but Glass is about a decade older.
I'm sure I've listened to that one record 200 times. I've found all of his music to be very rewarding over many years.
Incidentally, the article mentions John Adams in passing. I've found Adams' music to be more engaging and adventurous than Glass'. Adams is more of a West coast character, he's the composer in residence at the LA Phil and, earlier, at the SF Symphony. Highly recommended.
You can hear the notes coming into and out of phase (over very long time periods) sometimes playing almost over the top of one another, and sometimes with silent spaces. Because of this, it has a sub rosa mathematical side.
Eno was influenced by Glass, but Glass is about a decade older.
I'm sure I've listened to that one record 200 times. I've found all of his music to be very rewarding over many years.
Incidentally, the article mentions John Adams in passing. I've found Adams' music to be more engaging and adventurous than Glass'. Adams is more of a West coast character, he's the composer in residence at the LA Phil and, earlier, at the SF Symphony. Highly recommended.
This may be obvious to most, but the loops in question were literal tape loops, it being 1978. ("...running around a series of tubular aluminum chairs in Conny Plank's studio.")
Another example may be Glass's "Symphony No. 1", which was based on David Bowie's album "Low", which can be seen as Eno re-introducing more approachable narrative tropes.
The only Glass music I am familiar with is his Solo Piano album. I consider it very melodic.
Absolutely. Although I'd steer clear of arguing that with a critic, as many of its melodies are based around arpeggios which feeds into the "repetitiveness" stereotype many hold against Glass.
Solo Piano is an interesting example, though, because melodic or not, even if one were to write it off as a rather mechnical work (which as, on the page, it looks) when Glass plays it himself it becomes quite organic due to his imperfect and almost swaggering rhythm.
Solo Piano is an interesting example, though, because melodic or not, even if one were to write it off as a rather mechnical work (which as, on the page, it looks) when Glass plays it himself it becomes quite organic due to his imperfect and almost swaggering rhythm.
I heard it live and he actually messed up at one point and had to start the piece again.
I can't fathom the concentration it takes to play some of the longer pieces off of Einstein etc. Let alone something like Reich's Piano Phase. Superhuman focus...
I can't fathom the concentration it takes to play some of the longer pieces off of Einstein etc. Let alone something like Reich's Piano Phase. Superhuman focus...
I often wonder though -- if Glass (or Reich for that matter) happened to start their careers at a time and place where sequencing and sampling were commonplace and accepted, and created their work using that medium, would the music really suffer much? Is the superhuman virtuoso musical dexterity and focus required to properly perform these pieces really germane to their success as musical compositions?
During the period AFTER the advent of sampling/sequencing but BEFORE the rise of YouTube as a channel to consume music you might have been right.
But I think people view music performance now much more than they ever viewed music performance prior and witnesses the actual act of performing is intrinsic to enjoying many pieces.
It's one thing simply knowing a piece was played by humans but seeing it played adds an extra dimension and I think the popularity of some performances now depends on this.
But I think people view music performance now much more than they ever viewed music performance prior and witnesses the actual act of performing is intrinsic to enjoying many pieces.
It's one thing simply knowing a piece was played by humans but seeing it played adds an extra dimension and I think the popularity of some performances now depends on this.
They're certainly based on arpeggios, but there is always (to me) a clear note in each section of arpeggio that form the melody, in the sense that if I were to hum the song, I would hum that sequence of individual notes.
This article seems reasonably objective at first, until it suddenly turns on you and becomes extremely opinionated:
"The problem is that Glass’s music fails to do what I believe all great music does, which is to structure time in a profoundly meaningful way"
Not really. When I'm composing something, and I find myself forced to backtrack and rewrite my work, lest it sound "too glassy", which I know everyone would complain about, then that's a rather clear sign that Glass is now settled as a great composer. It's not an understatement to say that he changed the history of music, and that his style is likely to influence most, if not all future composers.
"The problem is that Glass’s music fails to do what I believe all great music does, which is to structure time in a profoundly meaningful way"
Not really. When I'm composing something, and I find myself forced to backtrack and rewrite my work, lest it sound "too glassy", which I know everyone would complain about, then that's a rather clear sign that Glass is now settled as a great composer. It's not an understatement to say that he changed the history of music, and that his style is likely to influence most, if not all future composers.
I found your music very interesting!
I 'm not sure if the criterion you 're suggesting is good though. For example i may have found some slight influence from stravinsky in your track, and i thought well of it. The fact that you try to exclude the Glass influence is kind of telling about how influential he is going to be in the future. Having a distinct style doesn't make one a great composer.
I 'm not sure if the criterion you 're suggesting is good though. For example i may have found some slight influence from stravinsky in your track, and i thought well of it. The fact that you try to exclude the Glass influence is kind of telling about how influential he is going to be in the future. Having a distinct style doesn't make one a great composer.
The first time I knew of Philip's Glass work was from Battlestar Galactica. There was a beautiful composition that Starbuck listened to in her apartment, and I was driven to find it.
https://www.youtube.com/watch?v=_hMw1C6fPt8
https://www.youtube.com/watch?v=_hMw1C6fPt8
That exact piece has been the soundtrack to finishing my dissertation these last couple months. Probably played it 100 times in the past few weeks and I'm still not sick of it. I first listened to it in the back of a darkened and nearly empty 737 being sprayed with de-icing fluid during a heavy snowstorm on the day after New Years Eve - not sure if I've ever encountered a better "life soundtrack" moment.
One 20th century composer I've enjoyed is Górecki, especially his Third Symphony. It is "monotonous" but still interesting and powerful. I don't really know a lot about music, but I love Dvořák and Brahms and Beethoven's Pastoral Symphony. I've always been uninterested in Glass because of his reputation, but reading this article and the other comments makes me want to listen to something from him. Any suggestions?
I share your love of Gorecki. I heard him on the radio once and it was some of the most beautiful music I ever heard, so I ran out to buy the CD.
I like some of Glass's music. Also his more monotonous pieces, but like almost every composer with a large body of produced works there's quite a number of pieces that I do not like at all. So yeah, check him out!
As for the suggestions: I'll add them tomorrow morning.
I like some of Glass's music. Also his more monotonous pieces, but like almost every composer with a large body of produced works there's quite a number of pieces that I do not like at all. So yeah, check him out!
As for the suggestions: I'll add them tomorrow morning.
Right, since I was on my phone last night I didn't really want to look things up.
Two albums to are on opposite ends of the Glass spectrum for me are: "Glassworks" (which I like a lot) and "Songs from Liquid Days" (which I am not so enthusiastic about).
Two albums to are on opposite ends of the Glass spectrum for me are: "Glassworks" (which I like a lot) and "Songs from Liquid Days" (which I am not so enthusiastic about).
Thanks to you and @mandelbrot for the suggestions!
If you want something "easier" to start with I would suggest Naqoyqatsi soundtrack, the Symphony No. 3 is a nice listen as well.
http://grooveshark.com/#!/album/Naqoyqatsi/212925 http://grooveshark.com/#!/album/Symphony+No+3/3708522
Koyaanisqatsi was the first Glass' piece I remember hearing and to this day still remains my favourite. But perhaps it is best experienced while watching the movie, the score is meant to work along with the pictures.
http://grooveshark.com/#!/album/Koyaanisqatsi/296839
Now for a truly hardcore experience try Music in Twelve Parts or the massive opera Einstein on the Beach.
http://grooveshark.com/#!/album/Music+In+Twelve+Parts/467796...
http://grooveshark.com/#!/album/Philip+Glass+Einstein+On+The... http://grooveshark.com/#!/album/Philip+Glass+Einstein+On+The... http://grooveshark.com/#!/album/Philip+Glass+Einstein+On+The...
If you still haven't got enough, why not listen to some hip-hop remixes :)
http://grooveshark.com/#!/album/Glassbreaks/465696
Hope this helps.
http://grooveshark.com/#!/album/Naqoyqatsi/212925 http://grooveshark.com/#!/album/Symphony+No+3/3708522
Koyaanisqatsi was the first Glass' piece I remember hearing and to this day still remains my favourite. But perhaps it is best experienced while watching the movie, the score is meant to work along with the pictures.
http://grooveshark.com/#!/album/Koyaanisqatsi/296839
Now for a truly hardcore experience try Music in Twelve Parts or the massive opera Einstein on the Beach.
http://grooveshark.com/#!/album/Music+In+Twelve+Parts/467796...
http://grooveshark.com/#!/album/Philip+Glass+Einstein+On+The... http://grooveshark.com/#!/album/Philip+Glass+Einstein+On+The... http://grooveshark.com/#!/album/Philip+Glass+Einstein+On+The...
If you still haven't got enough, why not listen to some hip-hop remixes :)
http://grooveshark.com/#!/album/Glassbreaks/465696
Hope this helps.
Curiously, the author expounds on why he does not like Glass's work (fair enough) and how Glass is not a great composer (certainly up for debate); he spends no time (and appears to have no insights) explaining why, exactly, so many people have been duped into enjoying it. He proposes a few theories, but seems rather dismissive in the face some pretty convincing evidence re: Glass's greatness. I actually looked for a "next page" button.
Does that case have to be made? Are there people who listen to Glass' music in and of itself, or in a concert-hall setting? The author claims that Glass' music has been successful for people to get high to and as background for films and stage performances, but not adopted for the concert hall, and the explanations are in line with this.
I think the mistake of the last section of the article is to present its conclusions as absolutes rather than personal experience. I have the exact same problem with Glass in a concert setting. On the other hand, I adore Steve Reich who 100% embraces narrative from It's Gonna Rain onwards.
I've heard very complimentary things about Akhnaten by people I respect, but have never been to see it myself.
I've heard very complimentary things about Akhnaten by people I respect, but have never been to see it myself.
I've always found Akhnaten a bit bombastic but I love Satyagraha (composed a few years before Akhnaten) and I saw it live last year. It absolutely works.
Interestingly I saw Einstein on the Beach the year before. Beforehand I was worried whether the near-4 hours would be tortuous (I love the work but tend to have it on while doing other stuff - I've never say and listened to it like one would a shorter or more narrative piece)
In the event it was actually a really lovely experience and if anything it went much quicker than expected. You do have to listen differently but it's still music and does all the things that 'normal' music does. Create anticipation, build up tension then release it, evoke emotion.
Just on a different scale and over a different timespan. It's no different to learning to appreciate classical when you're used to pop, Early Music when you're used to the Romantics or Be-bop when you're used to Swing ;-)
Interestingly I saw Einstein on the Beach the year before. Beforehand I was worried whether the near-4 hours would be tortuous (I love the work but tend to have it on while doing other stuff - I've never say and listened to it like one would a shorter or more narrative piece)
In the event it was actually a really lovely experience and if anything it went much quicker than expected. You do have to listen differently but it's still music and does all the things that 'normal' music does. Create anticipation, build up tension then release it, evoke emotion.
Just on a different scale and over a different timespan. It's no different to learning to appreciate classical when you're used to pop, Early Music when you're used to the Romantics or Be-bop when you're used to Swing ;-)
I grew up in Stuttgart, where many of Glass' operas were performed. Akhnaten was amazing, I went back to see it many times but I never listened to the recording. I think those pieces were meant for live performances, the sets were stunning as well.
2200 words to explain how glass' music is empty? hah, stfu
to be clear, part of what makes glass the genius that he is comes from how he is able to do so much with so little.. so to come across a supposed criticism of his work sprawled across thousands of words just made me chuckle a little
I had to look up the date on this piece because taking into account Glass's post 1995 (at the very latest) works, I couldn't disagree more with the conclusion and perhaps misunderstand the author's concept of melody.
Glass's distant history with melody is not particularly strong (although Façades is a good example of early melodic work), but his work has become more (and to choose a rather tricky term) "human" over the years. Reviews of Naqoyqatsi (both the movie soundtrack and the concerto it turned into) frequently cite its "melodic" nature and "lyrical melodic lines" (BBC Music) and it is far from the only modern Glass piece to adopt a melodic approach (his epic first Violin Concerto comes to mind). Heck, I'm sure I even saw Glass and Yo Yo Ma being interviewed about Naqoyqatsi and how it was designed for the cello to drive a powerful melody to counteract the technological nature of the movie (note that Koyaanisqatsi was the other way around - more 'mechnical' electronic music set to scenes of the natural world).
One problem some new to Glass can encounter is Glass's melodies frequently occur in lower registers on instruments that don't generally play melodies, particularly in his operas, leaving the traditionally melodic instruments to instead provide the rhythm. Appomattox provides modern examples of this: https://www.youtube.com/watch?v=6J14flyMOQo