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In , Glass received a Fulbright Scholarship ; his studies in Paris with the eminent composition teacher Nadia Boulanger , from autumn of to summer of , influenced his work throughout his life, as the composer admitted in "The composers I studied with Boulanger are the people I still think about most—Bach and Mozart.

Glass later stated in his autobiography Music by Philip Glass 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. The resulting piece written for two soprano saxophones was directly influenced by the play's open-ended, repetitive and almost musical structure and was the first one of a series of four early pieces in a minimalist, yet still dissonant, idiom.

In parallel with his early excursions in experimental theatre, Glass worked in winter and spring as a music director and composer [28] on a film score Chappaqua , Conrad Rooks, 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.

Glass then left Paris for northern India in , where he came in contact with Tibetan refugees and began to gravitate towards Buddhism.

He met Tenzin Gyatso , the 14th Dalai Lama , in , and has been a strong supporter of the Tibetan independence ever since. John von Rhein, Chicago Tribune writer [18].

Shortly after arriving in New York City in March , Glass attended a performance of works by Steve Reich including the ground-breaking minimalist piece Piano Phase , which left a deep impression on him; he simplified his style and turned to a radical " consonant vocabulary".

The visual artist Richard Serra provided Glass with Gallery contacts, while both collaborated on various sculptures, films and installations; from to he became Serra's regular studio assistant.

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 moving company with his cousin, the sculptor Jene Highstein, and also worked as a plumber and cab driver during to He recounts installing a dishwasher and looking up from his work to see an astonished Robert Hughes , Time magazine's art critic, staring at him.

Eventually Glass's music grew less austere, becoming more complex and dramatic, with pieces such as Music in Similar Motion , and Music with Changing Parts These pieces were performed by The Philip Glass Ensemble in the Whitney Museum of American Art in and in the Solomon R.

Guggenheim Museum in , often encountering hostile reaction from critics, [19] but Glass's music was also met with enthusiasm from younger artists such as Brian Eno and David Bowie at the Royal College of Art ca.

It was all intricacy, exotic harmonics ". After differences of opinion with Steve Reich in , [19] 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 — , which began as a single piece with twelve instrumental parts but developed into a cycle that summed up Glass's musical achievement since , and even transcended it—the last part features a twelve-tone theme, sung by the soprano voice of the ensemble.

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.

Glass continued his work with a series of instrumental works, called Another Look at Harmony — 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.

Composed in spring to fall of in close collaboration with Wilson, Glass's first opera was first premiered in summer at the Festival d'Avignon , and in November of the same year to a mixed and partly enthusiastic reaction from the audience at the Metropolitan Opera in New York City.

Scored for the Philip Glass Ensemble, solo violin, chorus, and featuring actors reciting texts by Christopher Knowles , Lucinda Childs and Samuel M.

Johnson , Glass's and Wilson's essentially plotless opera was conceived as a " metaphorical look at Albert Einstein : scientist, humanist, amateur musician—and the man whose theories Einstein on the Beach was followed by further music for projects by the theatre group Mabou Mines such as Dressed like an Egg , and again music for plays and adaptations from prose by Samuel Beckett , such as The Lost Ones , Cascando , Mercier and Camier Another series, Fourth Series —79 , included music for chorus and organ "Part One", , organ and piano "Part Two" and "Part Four", , and music for a radio adaption of Constance DeJong 's novel Modern Love "Part Three", 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.

In Spring , Glass received a commission from the Netherlands Opera as well as a Rockefeller Foundation grant which "marked the end of his need to earn money from non-musical employment".

For Satyagraha , Glass worked in close collaboration with two " SoHo friends": the writer Constance deJong, who provided the libretto, and the set designer Robert Israel.

This piece was in other ways a turning point for Glass, as it was his first work since scored for symphony orchestra, even if the most prominent parts were still reserved for solo voices and chorus.

Shortly after completing the score in August , Glass met the conductor Dennis Russell Davies , whom he helped prepare for performances in Germany using a piano-four-hands version of the score ; together they started to plan another opera, to be premiered at the Stuttgart State Opera.

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, , and The Photographer , a biographic study on the photographer Eadweard Muybridge Glass also continued to write for the orchestra with the score of Koyaanisqatsi Godfrey Reggio , — The "Portrait Trilogy" was completed with Akhnaten —, premiered in , a vocal and orchestral composition sung in Akkadian , Biblical Hebrew , and Ancient Egyptian.

In addition, this opera featured an actor reciting ancient Egyptian texts in the language of the audience.

Akhnaten was commissioned by the Stuttgart Opera in a production designed by Achim Freyer. It premiered simultaneously at the Houston Opera in a production directed by David Freeman and designed by Peter Sellars.

At the time of the commission, the Stuttgart Opera House was undergoing renovation, necessitating the use of a nearby playhouse with a smaller orchestra pit.

Upon learning this, Glass and conductor Dennis Russell Davies visited the playhouse, placing music stands around the pit to determine how many players the pit could accommodate.

The two found they could not fit a full orchestra in the pit. Glass decided to eliminate the violins, which had the effect of "giving the orchestra a low, dark sound that came to characterize the piece and suited the subject very well".

Glass again collaborated with Robert Wilson on another opera, the CIVIL warS , premiered in , 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".

The premiere of The CIVIL warS in Los Angeles never materialized 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 mids, Glass produced "works in different media at an extraordinarily rapid pace". 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 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 , —85 , which Glass recently described as his "musical turning point" that developed his "technique of film scoring in a very special way".

Glass also dedicated himself to vocal works with two sets of songs, Three Songs for chorus , settings of poems by Leonard Cohen , Octavio Paz and Raymond Levesque , and a song cycle initiated by CBS Masterworks Records : Songs from Liquid Days , with texts by songwriters such as David Byrne , Paul Simon , in which the Kronos Quartet is featured as it is in Mishima in a prominent role.

Glass also continued his series of operas with adaptations from literary texts such as The Juniper Tree an opera collaboration with composer Robert Moran , , Edgar Allan Poe 's The Fall of the House of Usher , and also worked with novelist Doris Lessing on the opera The Making of the Representative for Planet 8 —86, and performed by the Houston Grand Opera and English National Opera in Compositions such as Company , Facades and String Quartet No.

In taking this direction his chamber and orchestral works were also written in a more and more traditional and lyrical style. In these works, Glass often employs old musical forms such as the chaconne and the passacaglia —for instance in Satyagraha , [19] the Violin Concerto No.

A series of orchestral works originally composed for the concert hall commenced with the 3-movement Violin Concerto No.

This work was commissioned by the American Composers Orchestra and written for and in close collaboration with the violinist Paul Zukofsky and the conductor Dennis Russel Davies, who since then has encouraged the composer to write numerous orchestral pieces.

The Concerto is dedicated to the memory of Glass's father: "His favorite form was the violin concerto, and so I grew up listening to the Mendelssohn , the Paganini , the Brahms concertos.

So when I decided to write a violin concerto, I wanted to write one that my father would have liked. This turn to orchestral music was continued with a symphonic trilogy of "portraits of nature", commissioned by the Cleveland Orchestra , the Rotterdam Philharmonic Orchestra , and the Atlanta Symphony Orchestra : The Light , The Canyon , and Itaipu 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 , 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 ", [50] a piece for reciter and piano which in turn developed into a music theatre piece for singers and ensemble, Hydrogen Jukebox Glass also returned to chamber music; he composed two String Quartets No.

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".

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 its way to 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 In the late s and early s, Glass's projects also included two highly prestigious opera commissions based on the life of explorers:.

Especially in The Voyage , the composer "explore[d] new territory", with its "newly arching lyricism", " Sibelian starkness and sweep", and "dark, brooding tone Glass remixed the S'Express song Hey Music Lover , for the b-side of its release as a single.

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 He referred to the music of Honegger , Milhaud , and Villa-Lobos as possible models for his symphony.

In the four movements of his Third Symphony, Glass treats a 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" [56] [57] The third Symphony was closely followed by a fourth, subtitled Heroes , commissioned the American Composers Orchestra.

Its six movements are symphonic reworkings of themes by Glass, David Bowie, and Brian Eno from their album "Heroes" , ; 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 Achim Freyer ; the complete first set of ten Etudes has been recorded and performed by Glass himself.

Bruce Brubaker and Dennis Russell Davies have each recorded the original set of six. Most of the Etudes are composed in the post-minimalist and increasingly lyrical style of the times: "Within the framework of a concise form, Glass explores possible sonorities ranging from typically Baroque passagework to Romantically tinged moods".

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.

One can only suspect that Orpheus' grief must have resembled the composer's own", K. Robert Schwartz suggests. The characters are depicted by both singers and dancers.

The scoring of the opera evokes Bach's Concerto for Four Harpsichords , but in another way also "the snow, which falls relentlessly throughout the opera Here time stands still.

There is only music, and the movement of children through space" Glass. In the late s and early s, Glass's lyrical and romantic styles peaked with a variety of projects: operas, theatre and film scores Martin Scorsese 's Kundun , , Godfrey Reggio 's Naqoyqatsi , , and Stephen Daldry 's The Hours , , a series of five concerts, and three symphonies centered on orchestra-singer and orchestra-chorus interplay.

Two symphonies, Symphony No. The operatic Symphony No. 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 [] story-libretto by Doris Lessing , In the Penal Colony , after the story by Franz Kafka , and the chamber opera The Sound of a Voice , 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 , and created a biographic opera on the life of astronomer Galileo Galilei In the early s, Glass started a series of five concerti with the Tirol Concerto for Piano and Orchestra , premiered by Dennis Russell Davies as conductor and soloist , and the Concerto Fantasy for Two Timpanists and Orchestra , for the timpanist Jonathan Haas.

The Concerto for Cello and Orchestra had its premiere performance in Beijing, featuring cellist Julian Lloyd Webber ; it was composed in celebration of his fiftieth birthday.

The concerto celebrates the pioneers' trek across North America, and the second movement features a duet for piano and Native American flute. With the chamber opera The Sound of a Voice , Glass's Piano Concerto No.

Waiting for the Barbarians , an opera from J. Coetzee 's novel with the libretto by Christopher Hampton , had its premiere performance in September Russell Davies notes.

Two months after the premiere of this opera, in November , Glass's Symphony No. After three symphonies for voices and orchestra, this piece was a return to purely orchestral and abstract composition; like previous works written for the conductor Dennis Russell Davies the Concerto Grosso and the Symphony No.

Critic Allan Kozinn described the symphony's chromaticism as more extreme, more fluid, and its themes and textures as continually changing, morphing without repetition, and praised the symphony's "unpredictable orchestration ", pointing out the "beautiful flute and harp variation in the melancholy second movement".

The musical material is cut from familiar fabric, but it's striking that the composer forgoes the expected bustling conclusion and instead delves into a mood of deepening twilight and unending night.

The Passion of Ramakrishna , was composed for the Pacific Symphony Orchestra, the Pacific Chorale and the conductor Carl St. The 45 minutes choral work is based on the writings of Indian Spiritual leader Ramakrishna , which seem "to have genuinely inspired and revived the composer out of his old formulas to write something fresh", as one critic remarked, whereas another noted "The musical style breaks little new ground for Glass, except for the glorious Handelian ending A cello suite, composed for the cellist Wendy Sutter, Songs and Poems for Solo Cello — , was equally lauded by critics.

It was described by Lisa Hirsch as "a major work, In , Glass also worked alongside Leonard Cohen on an adaptation of Cohen's poetry collection Book of Longing.

The work, which premiered in June 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, As in Waiting for the Barbarians , Glass collaborated with the writer Christopher Hampton, and as with the preceding opera and Symphony No.

He's definitely developed more skill as an orchestrator, in his ability to conceive melodies and harmonic structures for specific instrumental groups.

Apart from this large-scale opera, Glass added a work to his catalogue of theater music in , 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 Act Without Words I , Act Without Words II , Rough for Theatre I and Eh Joe , directed by JoAnne Akalaitis and premiered in December Glass's work for this production was described by The New York Times as "icy, repetitive music that comes closest to piercing the heart".

Pendulum , a one-movement piece for violin and piano , a second Suite of cello pieces for Wendy Sutter , and Partita for solo violin for violinist Tim Fain , first performance of the complete work , are recent entries in the series.

Other works for the theater were a score for Euripides ' The Bacchae , directed by JoAnne Akalaitis , and Kepler , 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 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".

In and , Glass returned to the concerto genre. Violin Concerto No. It premiered in December by the Toronto Symphony Orchestra , and was subsequently performed by the London Philharmonic Orchestra in April

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