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However, what is more important than the number of works that flow from his pen is that, after their creation, they are regularly performed in opera houses. We count more than twenty of them and have seen most of them performed: Civil Wars, The Perfect American, Kepler, In the Penal Colony, The Juniper Tree…. Since then, the list of his operas has grown considerably. In Akhnathen, the small ensemble of his early days ( Einstein on the Beach) has grown into a full-fledged opera ensemble with a strongly manned orchestra, soloists singing arias, duos and ensembles, and choral interventions with a close dramatic bond. However, Philip Glass is increasingly deviating from a basic principle of minimal music: simplicity. The film soundtracks by Mishima and especially Koyaanisquatsi, Powaqqatsi, and Naqoyqatsi three one-and-a-half-hour films whose compositions are not interrupted at any point by commentary, have also established him definitively in this medium.
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With a smile we lent him our Bic, which he used to sign the booklets and then humbly thanked me. Two girls asked him to sign their program booklet, but what did he say? He didn’t even have a pen or a pencil. During the interval he wandered around alone among the audience. When we attended the creation of Akhnaten at the Staatsoper in Stuttgart in 1983, Philip Glass was still a modest figure. His opera trilogy Einstein on the Beach (Avignon, 1976), (Einstein = science), Satyagraha (Rotterdam, 1980) (Gandhi = politics) and Akhnathen (Stuttgart, 1983) (the pharaoh who wanted to introduce monotheism = religion) now enjoy worldwide fame. That he has put his skills at the service of the opera and film industries is certainly no surprise. Philip Glass, born in Baltimore in 1937 and largely schooled in Paris with Nadia Boulanger, is by far the most popular of the minimalists. Terry Riley was concerned with multiplication systems on tape loop and continuous repetitions while Steve Reich with his phase-shifting process and his repetitive dualism cannot always be taken seriously. 6 best visualizes the audience’s idea of participation: not the audience watching the performer but the latter carefully watching the audience. The lights are turned off and after a certain amount of time – when the lights come back on – one announces that the subject of the piece consists of the actions and reactions of the audience.Ĭomposition 1960 No. 4, the audience does not know at all when the work begins, how it proceeds, and when it ends. He further informs that there is total freedom of action during the anticipated time. 3, Young asks to announce when the piece begins and ends. But somewhere this music had got a hold of us, and we walked back to La Monnaie where Einstein on the Beach had been going on for several hours. On the pretext of not letting ourselves be fooled, we took the liberty of leaving the theater and went to drink a few beers on Brussels’ Grote Markt. We had not yet heard of “minimal music” and, unprepared as we were, after a good hour the endlessly repetitive movements of the characters and the equally endlessly repetitive simple note blocks in the orchestra began to get on our nerves.
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This immediately struck us as a suspicious announcement! An opera performance where one can just walk in and out…. The buffets remain open throughout the performance.
LA OPERA PHILIP GLASS FREE
Note in the program book: there is no intermission the spectators are free to go in and out of the hall during the performance. It is our first introduction to Philip Glass. PHILIP GLASS AND AMERICAN REPETITIVE MUSIC September 28, 1976.