Parts IX and X were really about ornamentation.” Part IX, after a lithe, bouncing, broken-chord introduction, becomes a study in chromatic unison while Part X begins with a blaring, aggressively reiterated figure in the winds that is eventually softened cushioned — by the addition of complementary figures in the bass. And by selling autograph scores — including, it is believed, the one for his 1970 work “Music in Eight Parts,” which was performed just a handful of times and was later thought lost. Listen free to Philip Glass – Music in Twelve Parts (Music In Twelve Parts: Part 1, Music In Twelve Parts: Part 2 and more). We loaded our van, unloaded it, played the concert, loaded up the van again and drove on. In Part XI, which is essentially an aria for soprano and ensemble, there is more harmonic motion than in all of the mature works Glass had composed in the previous ten years put together; here, once again, is a clear prefiguration of what is to come in Einstein on the Beach. It’s not clear when the piece will be played onstage; the next scheduled live performance is a concert planned for this fall in Athens. This was the end of minimalism for me. ‘I had broken the rules of modernism and so I thought it was time to break some of my own rules. Through skillful contrapuntal weaving, Glass creates, paradoxically, a drone that is not a drone — an active, abundant, richly fertile stasis. Then the final manuscript for “Music in Eight Parts” resurfaced near the end of 2017, when it came up for auction at Christie’s. CAST: Philip Glass Ensemble (voice, winds, keyboards) PREMIERE: New York Town’s Hall, 1974. 2. “To organize our first tour, I sent out something like 120 letters and got six responses. Alex Gray, an assistant with Dunvagen Music Publishers, who began to reconstruct the “Music in Eight Parts” score as an intern there a year and a half ago, said that it fit neatly into Mr. Glass’s experiments of the time, while working through a distinct idea. 13 tracks (203:01). And so this new interpretation represents not only a radical improvement in electronic technology but the accretion of twenty years thought and experience playing Music in Twelve Parts as well. Part 4 20:58 In the early 1970s, Philip Glass was already writing masterpieces and performing them with his ensemble in lofts, galleries and museums. You see it a little bit in ‘Music in Similar Motion’ — adding a new voice and adding a new voice, every couple of minutes.
Plans changed, however, when the coronavirus pandemic closed the school and canceled virtually all concerts indefinitely. Music in Twelve Parts is a set of twelve pieces written between 1971 and 1974 by the composer Philip Glass. This is somewhat analogous to the Norwegian fisherman's ritual of biting the head off a herring, except that instead of the short discomfort this is a long haul of counting and making one's way through a dense texture; instead of the bitter taste of the raw fish this an elegant and endlessly beautiful traversal through layer upon layer of gorgeous sonic dimensions. Philip Glass Ensemble Live in Monterrey, Mexico. Stage sound engineer: Stephen Erb, Executive Producers for Orange Mountain Music: Philip Glass, Kurt Munkacsi and Don Christensen, Associate Director Orange Mountain Music: Richard Guérin, Edited, Mixed and Mastered by Ichiho Nishiki at the Looking Glass Studios, New York, Cover Art Album: Frank Stella
When Philip Glass, the composer, first presented his “Music in Twelve Parts” last June at Town Hall, he did it in a six‐hour marathon. Keyboards: Philip Glass, Michael Riesman, Mick Rossi One Plus One.
Music by Philip Glass. By the time I got to Part VIII, I’d pretty much finished what I’d started out to do.
“You can’t. No Reservations. It holds an important place in Glass’s repertory – not only from a historical vantage point (as the longest and most ambitious concert piece for the Philip Glass Ensemble) but from a purely aesthetic standard as well, because Music in Twelve Parts is both a massive theoretical exercise and a deeply engrossing work of art. Part 9 12:14 Part IV is extraordinary: after a brief introduction, it becomes a lengthy examination of a single, unsettled chord that sweats, strains and ultimately screams for resolution until the musicians suddenly break into the joyous, rushing catharsis of Part V. Part VI is another example of how Glass can take what initially seems a standard chord progression and gradually build considerable interest on the part of his audience as he presents it to us, again and again, from different rhythmical perspectives.
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