Minimal Glass

Pulsing, repetition, subtle changes, static harmonies, unusual orchestrations, vocal inflections, dramatic interjections. All these things and more characterize the music of Philip Glass, a composer of renown whose popularity, sophistication, and musical substance are rare in today's dichotomous musical and entertainment world.

Born in 1937 to a family of music lovers, Glass was eventually formally educated at the Juilliard School and studied with Vincent Persichetti, Darius Milhaud, Nadia Boulanger, with influences from the music of John Cage and Morton Feldman. Further study of the music of Ravi Shankar and Indian rhythms combined with the minimal art of writer Samuel Beckett ultimately led to a development in music often called Minimalism (although Glass does not use that term to describe his music).

His "breakthrough" into success occurred with a collaboration with Robert Wilson in Einstein on the Beach, an opera that experiments with sound and communication through repetition of text and musical concepts with analogies referencing concern with nuclear arms and other modern themes. Einstein led easily to a film trilogy including Koyaanisqatsi, Powaqqatsi, and eventually Naqoyqatsi. All works for film with background music of Philip Glass.

In addition to 8 symphonies, concertos, solo works, quartets, and theater works, Glass has collaborated with Paul Simon, David Bowie, Lou Reed, and Linda Ronstadt. In recent years his growing popularity finds him more involved in film scoring including Hamburger Hill, Hours, The Illusionist, Undertow, Roving Mars, and Notes on a Scandal. Glass continues to make remarkable strides in an industry often steeped in searching for music to entertain the popular masses. His unique musical language is mesmerizing, enchanting, mysterious, dramatic, and difficult to define.

On the surface, his "sound" seems devoid of melody and direction and often harmonically static. Yet, careful listening reveals subtle changes, engaging energy, coloristic orchestrations, stunning drama, and musical depth not often found in film music of today.

What both confuses and intrigues me is that Minimalism was once considered an experimental, avant garde style of music reserved for college study with quasi-peripheral performances in little known concert halls specializing in performance art and improvisation. But, defying the odds, Glass has become immensely popular, prolific, influential, and profound. Minimalism or process music as it has been called, may have originally been a creative tool for a few composers and performers seeking a new form of expression and ingenuity, but it has now become a part of main-stream musical thought with a wide and quite appreciative audience. The people wanted it, the market needed it, and the musicians responded. Leading the pack is Philip Glass.

Give it a try sometime. It could drive you crazy or you may just love it. Whatever your reaction, do not doubt that minimalism and the music of Philip Glass is here to stay. For more information, go to http://en.wikipedia.org/wiki/Philip_Glass or http://www.imdb.com/name/nm0001275/

I am not sure which of his works to recommend above the others but consider Koyaanisqatsi or Undertow or perhaps one of the symphonies. It is all worth hearing. Approach it openly and emotionally and you may just discover the world of Philip Glass and you may just like it!