Find album reviews, stream songs, credits and award information for Music in Twelve Parts - Philip Glass, Philip Glass Ensemble on AllMusic - 1993 Until that baton is passed on to other ensembles, one should cherish each one of the Ensemble’s appearances. Not what I’d call a masterpiece, it’s a manifesto, a musical vocabulary built from the ground up before your very ears, hugely inventive within its limited scope but also somewhat uneven. Those left rapturous by the Metropolitan Opera’s Akhnaten earlier this season were not destined for a similar experience on Saturday with the four-hour Music in 12 Parts (written 1971-74) that is the centerpiece of the Annenberg Center’s #Glassfest. Genres: Minimalism.
Music in Twelve Parts has been performed only once by a group other than Glass’s. Philip Glass is 81 and, inevitably, his performances with his own ensemble have a somewhat valedictory air. The quirks are among the most engaging elements: At first they’re hiccups that interrupt the musical momentum in witty ways but, by the end, are points of considerable expansion in the musical vocabulary.
However original, this music has its precedents: Bruckner’s repetition has similarly mesmerizing effects. At the very start, in the mellifluous, Monet-like waves of Part 1, the Ensemble lost the downbeat almost immediately—Riesman tried to cue everyone back together, as did Glass, who reorganized the music at the entry of the three note, falling-rising theme.
Adding a nice sense of retro-tech unity, the composer performed with the same Farfisa instrument on which he premiered the work 44 years ago. done anything to warrant a ban, this is most likely the case. You might have a buggy browser extension installed. That break brought out an ever greater strength and calm in the ensemble; it also provided enough time and to solve the evenings main problem, which was the live sound mix by Dan Bora. Later parts deal with instrumental colors. Two intermissions and a dinner break were necessary to take in so much intricately interlocking minimalism, with words consisting of solfege syllables ("do" and "re") and instrumental textures that sometimes (but don't always) create the illusion of three-dimensional musical holographs.
Some of Glass’s smaller works, like Music in Contrary Motion and Piece in the Shape of a Square, have been picked up by other groups, but what will happen to Music in Twelve Parts after Glass and his music director Michael Riesman are no longer in the scene?
This is difficult music to play, not only because of the endurance the musicians need, but the constant concentration, attention to detail, and relaxed, fluid instrumental technique. At times Glass stops pushing forward and just has fun with what he has — the danger being that his basic musical materials don’t hold up under incessant repetition.
by David Patrick Stearns, For The Inquirer.
Your IP was not banned by a person; it was banned by a firewall that uses an automated algorithm. Certainly, the concert was a superhuman act of concentration from remarkably distinguished personnel, which did not include Glass himself, but longtime collaborators such as Michael Riesman on keyboard, as well as the noted composer Lisa Bielawa on vocals, wind players Peter Hess, Andrew Sterman and Sam Sadigursky, keyboardist Mick Rossi, plus two sound engineers, Dan Bora and Ryan Kelly. You might be using a VPN.
The absolute concentration of Glass’s technique, close to four hours of counterpoint and the most basic compositional ideas of expansion and diminution, of working out permutations of core material, is still an exemplar of how to make ancient values modern.
The final section puts everything together with a kind of grandeur that might seem antithetical to anything claiming to be minimalist. And while both composers have gone on to write music for other ensembles, only Reich’s early masterpieces, like Drumming and Music for 18 Musicians, have moved into the standard repertoire.
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