In his own time: Philip Glass plays for eternity
Daily Comfort ZoneThe American minimalist, 87, has recorded his piano music.
Eat that, Einaudi.
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To be frank he’s not a very good performer/interpreter of his own stuff. Fairly common among composers. Compare with Jeroen van Veen or Simone Dinnerstein playing the same music — I think they both perform Glass’s work far better than Glass himself.
OTOH of course, not too shabby for an 87 year old!
I disagree. The phrasing and the dry touch of Glass clearly reflect his intentions and aesthetics of his compositions. His minimalism in this work is surreal and severe, whereas van Veen plays it in a much more ethereal and dreamy manner. I think that is a perfectly valuable insight into the potential of Glass’ music, and he executes it very well. However, if appreciating van Veen’s performance impedes you from recognizing the interpretative and pianistic force of Glass’ playing, then that is a pity.
Glass composed for the CSO “The Triumph of the Octagon”, described as a “10-minute piece inspired by a photo of a 13th-century Italian castle that Glass saw hanging in the maestro’s studio at Orchestra Hall in Chicago”.
The picture has been removed from what used to be Muti’s studio in Orchestra Hall, along with his other memorabilia. Packed and sent back to Italy.
What’s your point?
I always had the impression this site was rather anti-Glass. I have always disagreed — I find his music extraordinarily evocative, and probably the finest practice of minimalism I know. I love how it has worked for films and dancers but I know how much I like it because I am always happy to sit back and listen to it on its own, as here.
Whether it is liked here or not, thanks for giving it to us on what for me is a blizzardy afternoon.
Eternity? Rather the eternity of oblivion. It is minimal wallpaper in sound, as a background of something, meant for people for whom classical music is too difficult. Or for people who prefer ‘serious music’ to be something that can serve as mood setting while they prepare their meals, read a book, or stroke their cat.
It is like taking-out a few bars from Schumann, the ones in between the moments when something is happening, so that a bland tapestry can be put together, that won’t draw too much attention from the listener. In short: cheap, simplistic, and a form of pop, and not concert music.
Would you say the same for Bach WTC I, C major prelude, or the prelude to the G major cello suite? Or indeed many sections of Beethoven’s symphonies (2nd movement of the 9th?). Repetition is an integral component of music; the more subtle the variations within it, the harder you need to listen. It is never too late to learn how.
I agree this is not ‘concert music’; it is music for an intimate setting – as are many of the keyboard works of Bach and Schumann and Chopin, to take a few names at random. But it is certainly not a form of ‘pop’.
It’s not the repetition as such, but the way it is handled, which makes this thing cheap and entirely uninteresting as concert music.
Compare it with the repetitions in Bach (indeed), or in Beethoven’s slow movement in the 6th, or in Schubert’s 9th.
Glass’ repetitions are more like those of Satie’s Vexations.
Steve Reich’s repetitious music has much more interest, like in his Music for 18 Players. I still find it much too mechanistic, as if written by a machine or an AI program, but still there is much to catch the ear.
“still there is much to catch the ear” – exactly. If your ear needs to be caught, are you really listening with full attention and commitment?
Yes I wonder too sometimes.
I can’t say more, I don’t want to be fired again.
Sally
I recall the time he was on David Letterman’s show in the 1980s. He wasn’t much of a talk show guest, how he got booked on that show I don’t know.
But he did play one of his solo piano pieces. Kinda shaky I thought, but interesting to hear it live with no studio do-overs.
I also recall the occasion when National Public Radio noted his birthday with this announcement…
Happy Birthday, Philip Glass.
Happy Birthday, Philip Glass.
Happy Birthday, Philip Glass.
Happy Birthday, Philip Glass.
Happy Birthday, Philip Glass.
Happy Birthday, Philip Glass.
Happy Birthday, Philip Glass.
Happy Birthday, Philip Glass.
Happy Birthday, Philip Glass…
I love this stuff! I love this stuff!
Sally
I hope they used a different voice every fourth one. But clever.
Twoset Violin did a wonderful, but respectful, parody, If Philip Glass was a film: https://www.youtube.com/watch?v=gPtd6gVgKo8
Brilliant!
Is he playing a duet with Nora the Cat? Two hands-four paws?