| Hours() * 3600 + newCurrentTime.Minutes() * 60 + newCurrentTime.Minutes() * 60 + currentTime.See all customer reviews...Ships from and sold by Amazon.Want it delivered Monday, January 14?Day Shipping at checkout.Amazon MP3 Downloads store.Buy this album with From the Philip Glass Recording Archive, Vol.See all customer reviews...Instant Ringtones in 30 Seconds.No Credit Card Required.Think of a tag as a keyword or label you consider is strongly related to this product.No one has tagged this product for Amazon search yet.See all 351 customer reviews...You can't easily get those tracks elsewhere, so Glass fans should definitely get this CD!"Thanks for the valuable feedback you provided to other Amazon.Your vote will be counted and will appear on the product page within 24 hours."What are you listening to right now?Would you dare admit it?Strange experiences in listening to Classical Music.Music You Should Hear: Artists' PicksWant to know what Norah Jones, Sting, and Il Divo are listening to?This offer applies only to Amazon.For more about music, check out our blog, Amazon Earworm, and our monthly newsletters, Amazon Delivers.Using your checking account at Amazon.If you need help or have a question for Customer Service, contact us.Is there any other feedback you would like to provide?View or change your orders in Your Account.You have no recently viewed items or searches.Sign in to get personalized recommendations.Too many keywords can constrain your search.Track your recent orders.View or change your orders in Your Account.Visit our Help department.After viewing product detail pages or search results, look here to find an easy way to navigate back to pages you are interested in.The music of Philip Glass is often enjoyed in conjunction with other art
forms: theater, film, dance, poetry.His listeners have had many opportunities
to experience the interaction of the music with movement, images, or words.Wichita Vortex Sutra, from 1988, takes its title from a poem written by
Allen Ginsberg in 1966.It consists of five movements.Though all five movements develop a small amount of source material
through repetition, each has its own unique form.The introduction consists of four chords followed by the e minor accompaniment
figure.The bass line, here and throughout the movement, moves down a major
third by step.The inner voice of the accompaniment figure is a series of
ascending major thirds.The melody, a plaintive call, is a minor third falling
three times from D and once from B flat.The piece has five sections that oscillate between
D minor and D major.The overall form is ABA with an arpeggiated middle
section like number two.Number five has the same material as number one, but again, some sort of
metamorphosis has occurred.Or is it the experience of having heard the intervening
movements that causes some listeners to perceive this music differently?Mad Rush (1981) was first written as the organ piece on the occasion of
a visit to New York by the Dalai Lama.The repetition scheme
is simpler and phrases are all four bars long.The final work on this recording is also the most lighthearted.A7 and Bflat7, with the improvisatory upper voice sounding
in turn lilting and halting.Davidovsky, Cage, Babbitt, Reynolds, Anderson, Krieger, Primosch,
Yuasa and Cory.Artur Balsam and Beveridge Webster were among his major teachers while at
the Manhattan School of Music and the Juilliard School.He credits William
Daghlian as a key mentor and his most important teacher.Karis is currently a Professor of Music at the University of California,
San Diego.Original music composed by Philip Glass.Performed by Aleck Karis, piano.Executive Producer: Ron Mannarino.Piano technician: Kong Ju Lee.Painting: Untitled by John A.His listeners have had many opportunities to experience the interaction of the
music with movement, images, or words.Much harder to come by in the case of Glass,
however, has been the chance to hear the same piece played by several different performers.Music lovers appreciate the fact that no two musicians hear in the same way, or have the same
set of musical priorities.Here then is an intimate foray into the monumental world of Philip
Glass, from one outside of his circle.Though all five movements develop a small amount of source
material through repetition, each has its own unique form.Number one focuses on the interval of the third and repetition in threes.The bass line, here and
throughout the movement, moves down a major third by step.The melody, a plaintive call, is a minor
third falling three times from D and once from B flat.The haunting melody, reminiscent of Satie, flows smoothly and slowly, but actually
breaks down into uneven phrase lengths: 8 bars, repeated, followed by 18 bars, (4+4+4+ a 6
bar extension), repeated.Number four, in C minor, has syncopated chords in the right hand that create an agitated
mood not found in the other movements.The accompaniment figure is once again slightly
altered.The continuous texture above this bass line consists
of broken thirds, in a polyrhythm of two against three, with three against four also present
since the triplets are grouped in twos.The bass sings its very slow chant, the broken
thirds in the middle move at a moderate speed, and the top voice has extremely rapid
arpeggiated figures (twice as fast as the top voice of the A section).Opening (1982) has a texture very similar to the first part of Mad Rush, though the effect here
is quite different, with actual chord progressions, richer harmonies and a steady buildup to a
piano subito.The final work on this recording is also the most lighthearted.The ostinato bass line here outlines two chords, A7 and Bflat7, with the
improvisatory upper voice sounding in turn lilting and halting.Philip Glass has again and again shown himself to be a master of the manipulation of
perception.The same work can evoke deeply personal reactions in different listeners: a sense of
alienation, an expression of pure energy, a feeling of panic, a canny portrayal of the banality
of modern life, or a melancholy made even more touching by its restraint and control.ISCM Chamber Players, and SONOR, the contemporary music ensemble
of the University of California, San Diego.He has also recorded solo music by
Davidovsky, Cage, Babbitt, Reynolds, Anderson, Krieger, Primosch, Yuasa and Cory.Chamber
music recordings include works by Carter, Wolpe, Crumb, Babbitt, Martino, Lieberson, Steiger,
and Shifrin.Executive Producer: Ron Mannarino.Sommer Center, Concordia College, Bronxville, NY.Karis photo: Christian Steiner.Painting: Untitled by John A.This recording was made with the assistance of an
Academic Senate grant from the University of California, San Diego.Do you really want to delete this item?Please delete all its Data first.Do you really want to delete this Module with all its data?This Module cannot be deleted."Loading Microsoft Windows Media Player components..."Watercolor," a portrait of Philip Glass.Chuck Close, 1977)
Philip Glass Up Close
Tuesday, October 23, 2007
Photorealist Chuck Close has been making portraits of Philip Glass since the late 60s, when they became friends while struggling to establish themselves in New York.We sample one of Glass's own tributes to Close featured on the 2006 album Up Close, which was originally created to accompany one of the artist's exhibitions at the Metropolitan Museum.We hear "Modern Love Waltz," a piano piece written to accompany a radio performance by Constance DeJong of her novel Modern Love in 1978.Modern Love Waltz with pianist Aleck Karis at amazon.Start your Amazon shopping on WNYC. |
