Philip Glass: Theater Music from the Philip Glass Recording Archive, Vol. 1

Glass; Wu Man; Chang; Feeney; Rejto; Sher; Cook - Philip Glass: Theater Music from the Philip Glass Recording Archive, Vol. 1

Philip Glass: Theater Music from the Philip Glass Recording Archive, Vol. 1
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Artist: Glass; Wu Man; Chang; Feeney; Rejto; Sher; Cook
Composer: Philip Glass
Conductor: No Conductor
Orchestra: Wu Man; Chang; Feeney; Rejto; Sher; Cook
Performer: Wu Man; Chang; Feeney; Rejto; Sher; Cook
Edition: Music CD
Audio: English (Unknown)
CD Release Date: 2007-04-24
Music Label: Orange Mountain Music
Soundtracks:
  1. The Sound of a Voice, suite from the incidental music
  2. In the Summer House, incidental music (Bowles): In the Summer House
  3. In the Summer House, incidental music (Bowles): 'My one and only hope...'
  4. In the Summer House, incidental music (Bowles): Gertrude's Paradise
  5. In the Summer House, incidental music (Bowles): Mr. Solares' Picnic Lunch
  6. In the Summer House, incidental music (Bowles): 'Molly is a dreamer.'
  7. In the Summer House, incidental music (Bowles): Enter Vivian
  8. In the Summer House, incidental music (Bowles): The Beach / Lionel and Molly
  9. In the Summer House, incidental music (Bowles): Vivian's Death / Two Marriages
  10. In the Summer House, incidental music (Bowles): 'Life is tragic, Mrs. Constable.'
  11. In the Summer House, incidental music (Bowles): Gertrude leaves the Summer House
  12. In the Summer House, incidental music (Bowles): Left alone...
  13. In the Summer House, incidental music (Bowles): The Lobster Bowl
  14. In the Summer House, incidental music (Bowles): Back to Sad Things
  15. In the Summer House, incidental music (Bowles): Gertrude Returns
  16. In the Summer House, incidental music (Bowles): 'I knew you'd come back.'
  17. In the Summer House, incidental music (Bowles): A Choice
  18. In the Summer House, incidental music (Bowles): Lionel Departs
  19. In the Summer House, incidental music (Bowles): 'When I was a little girl...'

Free Music Notes for Philip Glass: Theater Music from the Philip Glass Recording Archive, Vol. 1

Free Music Review: Stage and film music is brilliantly reinvented
Hit: 5 Stars

It has been a common practice to compose for the stage or the silver screen for some time. Without speaking of the opera that plunges its roots in medieval church oratorios in the 13th century (Ludus Danieli), it was common in Shakespeare's time to have several songs in a play, comedy or tragedy alike, and with Purcell, after the Puritan and Glorious Revolutions, the semi-opera was invented with both instrumental and vocal music in interludes all along a play. This practice of having music in dramatic productions has been constant since then and the cinema multiplied the practice, especially mute films with special compositions performed live. But even today's films all have a composer and a full musical score. Philip Glass is one composer who dedicated his inspiration and energy to such compositions. In this first volume two titles are recorded "The Sound of a Voice" in the form of a long suite and "In the Summer House" in the form of a series of independent short pieces. Here Philip Glass used traditional instruments from the orchestra and in their normal use that is to say un-amplified. The first originality and great power of this music is the assemblage of instruments. Some of his percussions are in sharp contrast with the traditional violin or cello. The second originality is the composition itself that is extremely inventive and at times surprising, and of course, the use of a constantly varying tempo that makes the music ill-tempered but so expressive, emotional even, by creating an ambience, an atmosphere, a coloration that varies from now to then, from here to there and the varying texture or rhythm gives depth to the music and that is perfectly adapted to the stage or the screen. But Philip Glass composes a music that is nevertheless perfectly autonomous, fully developed and that can stand on its own feet. That explains why the first suite really feels like one piece. But with the second title which is a series of small pieces, though there are common elements in them, like the choice of leading instruments, each small piece is extremely original and we do not get the impression of tidbits or crumbs from a bigger loaf we would never get. In fact each piece is really an original and in a way autonomous variation of the previous one and it leads to the next one which will be a further and extra variation. One of the tricks he often uses is to have two tempo line. A continuo with its own tempo and a foreground line whose tempo can vary from being in phase with the continuo or being faster or even slower. A times he inverts the game and makes the continuo level of the music the stratum that becomes free and changing. That gives to this music a mesmerizing resonance in our minds.

Dr Jacques COULARDEAU, University Paris Dauphine, University Paris 1 Pantheon Sorbonne & University Versailles Saint Quentin en Yvelines
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