Philip Glass: Theater Music from the Philip Glass Recording Archive, Vol. 1
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Music CD Cover
Performer: Peter RejtoPerformer: Richard Sher
Composer: Philip Glass
Performer: Tara Helen O'Connor
Performer: Gary Cook
Performer: Krista Bennion Feeney
Performer: Lynn Chang
Edition: Music CD
CD Release Date: 2007-04-24
Music Label: Orange Mountain Music
Soundtracks:
- Sound of a Voice Suite
- In the Summer House
- "My one and only hope..."
- Gertrude's Paradise
- Mr. Solares' Picnic Lunch
- "Molly is a Dreamer."
- Enter Vivian
- The Beach/ Lionel and Molly
- Vivian's Death/Two Marriages
- "Life is tragic, Mrs. Constable"
- Gertrude leaves the Summer House
- Left alone...
- The Lobster Bowl
- Back to Sad Things
- Gertrude Returns
- "I knew you'd come back..."
- A Choice
- Lionel Departs
- "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
Philip Glass: Theater Music from the Philip Glass Recording Archive, Vol. 1 Poster
From the Philip Glass Recording Archive Vol. 1 represents the first release by Orange Mountain Music from the extensive archive of recordings made in the last 40 years of Philip Glass' recording career. Theater Music Vol. 1 features two ravishingly beautiful works from the world of theater: the instrumental suite from Glass' 2003 chamber opera is highlighted by eastern and western instrumentation in one of Glass' most original scores. In the Summer House is music composed for the revival of the 1953 Bowles play. Both these scres bring a rare chance to hear one of the most important theater composers of our time in unknown scores.Classical Music CDs
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