Austin Opera , formerly known as the Austin Lyric Opera , is an opera company based in Austin , Texas . The company was founded in 1986. Its key personnel include Annie Burridge as general director, and Timothy Myers as artistic advisor.
83-521: In January 2007, it staged the North American premiere of Philip Glass ’s opera Waiting for the Barbarians . This article related to Austin, Texas is a stub . You can help Misplaced Pages by expanding it . This article about an opera company or opera festival is a stub . You can help Misplaced Pages by expanding it . Philip Glass Philip Glass (born January 31, 1937)
166-789: A Primetime Emmy Award . He has also received the Ordre des Arts et des Lettres in 1995, the National Medal of Arts in 2010, the Kennedy Center Honors in 2018, and the Grammy Trustees Award in 2020. Glass was born in Baltimore , Maryland , on January 31, 1937, the son of Ida (née Gouline) and Benjamin Charles Glass. His family were Latvian and Russian-Jewish emigrants. His father owned
249-478: A symphony ". Glass responded with a pair of three-movement symphonies ( "Low" [1992], and Symphony No. 2 [1994]); his first in an ongoing series of symphonies is a combination of the composer's own musical material with themes featured in prominent tracks of the David Bowie/Brian Eno album Low (1977), whereas Symphony No. 2 is described by Glass as a study in polytonality . He referred to
332-478: A twelve-tone string trio . In 1954, Glass traveled to Paris, where he encountered the films of Jean Cocteau , which made a lasting impression on him. He visited artists' studios and saw their work; Glass recalls, "the bohemian life you see in [Cocteau's] Orphée was the life I ... was attracted to, and those were the people I hung out with." Glass studied at the Juilliard School of Music where
415-478: A twelve-tone theme, sung by the soprano voice of the ensemble. "I had broken the rules of modernism and so I thought it was time to break some of my own rules", according to Glass. Though he finds the term minimalist inaccurate to describe his later work, Glass does accept this term for pieces up to and including Music in 12 Parts , excepting this last part which "was the end of minimalism" for Glass. As he pointed out: "I had worked for eight or nine years inventing
498-551: A "first extension out of a triadic harmonic language", an experiment with the polytonality of his teachers Persichetti and Milhaud , a musical technique which Glass compares to "an optical illusion, such as in the paintings of Josef Albers ". Glass again collaborated with Robert Wilson on another opera, the CIVIL warS (1983, premiered in 1984), which also functioned as the final part (the Rome section) of Wilson's epic work by
581-551: A "viscous bath of pure, thick energy", concluding "this was actually the most detailed music I'd ever heard. It was all intricacy, exotic harmonics ". In 1970, Glass returned to the theatre, composing music for the theatre group Mabou Mines , resulting in his first minimalist pieces employing voices: Red Horse Animation and Music for Voices (both 1970, and premiered at the Paula Cooper Gallery ). After differences of opinion with Steve Reich in 1971, Glass formed
664-613: A 2011 interview, Glass stated that Franz Schubert—with whom he shares a birthday—is his favorite composer. He studied the flute as a child at the Peabody Preparatory of the Peabody Institute of Music . At the age of 15, he entered an accelerated college program at the University of Chicago where he studied mathematics and philosophy. In Chicago, he discovered the serialism of Anton Webern and composed
747-592: A Scandal (2006). He also composed the scores for Mishima: A Life in Four Chapters (1985), Hamburger Hill (1987), The Thin Blue Line (1988), The Truman Show (1998), and The Illusionist (2006). Glass is known for composing several operas such as Einstein on the Beach (1976), Satyagraha (1980), Akhnaten (1983), The Voyage (1992), and The Perfect American (2013). He also wrote
830-722: A commission from the Netherlands Opera (as well as a Rockefeller Foundation grant) which "marked the end of his need to earn money from non-musical employment". With the commission Glass continued his work in music theater, composing his opera Satyagraha (composed in 1978–1979, premiered in 1980 at Rotterdam), based on the early life of Mahatma Gandhi in South Africa, Leo Tolstoy , Rabindranath Tagore , and Martin Luther King Jr. For Satyagraha , Glass worked in close collaboration with two " SoHo friends":
913-657: A libretto by David Henry Hwang , was commissioned by the Metropolitan Opera for the 500th anniversary of the discovery of America by Christopher Columbus ; and White Raven (1991), about Vasco da Gama , a collaboration with Robert Wilson and composed for the closure of the 1998 World Fair in Lisbon. Especially in The Voyage , the composer "explore[d] new territory", with its "newly arching lyricism", " Sibelian starkness and sweep", and "dark, brooding tone ...
SECTION 10
#1732793344082996-537: A more and more traditional and lyrical style. In these works, Glass often employs old musical forms such as the chaconne and the passacaglia —for instance in Satyagraha , the Violin Concerto No. 1 (1987), Symphony No. 3 (1995), Echorus (1995) and also recent works such as Symphony No. 8 (2005), and Songs and Poems for Solo Cello (2006). A series of orchestral works originally composed for
1079-588: A music director and composer on a film score ( Chappaqua , Conrad Rooks, 1966) with Ravi Shankar and Alla Rakha , which added another important influence on Glass's musical thinking. His distinctive style arose from his work with Shankar and Rakha and their perception of rhythm in Indian music as being entirely additive. He renounced all his compositions in a moderately modern style resembling Milhaud 's, Aaron Copland 's, and Samuel Barber 's, and began writing pieces based on repetitive structures of Indian music and
1162-974: A now-famous portrait of Glass). (Glass returned the compliment in 2005 with A Musical Portrait of Chuck Close for piano.) With 1+1 and Two Pages (composed in February 1969), Glass turned to a more "rigorous approach" to his "most basic minimalist technique, additive process", pieces which were followed in the same year by Music in Contrary Motion and Music in Fifths (a kind of homage to his composition teacher Nadia Boulanger , who pointed out " hidden fifths " in his works but regarded them as cardinal sins). Eventually Glass's music grew less austere, becoming more complex and dramatic, with pieces such as Music in Similar Motion (1969), and Music with Changing Parts (1970). These pieces were performed by
1245-615: A performance of works by Steve Reich (including the ground-breaking minimalist piece Piano Phase ), which left a deep impression on him; he simplified his style and turned to a radical " consonant vocabulary". Finding little sympathy from traditional performers and performance spaces, Glass eventually formed an ensemble with fellow ex-student Jon Gibson , and others, and began performing mainly in art galleries and studio lofts of SoHo . The visual artist Richard Serra provided Glass with Gallery contacts, while both collaborated on various sculptures, films and installations; from 1971 to 1974, he
1328-527: A piano-four-hands version of the score); together they started to plan another opera, to be premiered at the Stuttgart State Opera . While planning a third part of his "Portrait Trilogy", Glass turned to smaller music theatre projects such as the non-narrative Madrigal Opera (for six voices and violin and viola, 1980), and The Photographer , a biographic study on the photographer Eadweard Muybridge (1982). Glass also continued to write for
1411-566: A radio adaption of Constance DeJong 's novel Modern Love ("Part Three", 1978). "Part Two" and "Part Four" were used (and hence renamed) in two dance productions by choreographer Lucinda Childs (who had already contributed to and performed in Einstein on the Beach ). "Part Two" was included in Dance (a collaboration with visual artist Sol LeWitt , 1979), and "Part Four" was renamed as Mad Rush , and performed by Glass on several occasions such as
1494-552: A real affinity for the French text and sets the words eloquently, underpinning them with delicately patterned instrumental textures". For the second opera, La Belle et la Bête (1994, scored for either the Philip Glass Ensemble or a more conventional chamber orchestra), Glass replaced the soundtrack (including Georges Auric 's film music) of Cocteau's film, wrote "a new fully operatic score and synchronize[d] it with
1577-439: A record store and his mother was a librarian . In his memoir, Glass recalls that at the end of World War II his mother aided Jewish Holocaust survivors , inviting recent arrivals to America to stay at their home until they could find a job and a place to live. She developed a plan to help them learn English and develop skills so they could find work. His sister, Sheppie, would later do similar work as an active member of
1660-428: A reflection of its increasingly chromatic (and dissonant ) palette", as one commentator put it. Glass remixed the S'Express song "Hey Music Lover", for the b-side of its 1989 release as a single. After these operas, Glass began working on a symphonic cycle, commissioned by the conductor Dennis Russell Davies, who told Glass at the time: "I'm not going to let you ... be one of those opera composers who never write
1743-418: A reputation as Baltimore's leading source of modern music. Glass built a sizable record collection from the unsold records in his father's store, including modern classical music such as Hindemith , Bartók , Schoenberg , Shostakovich and Western classical music including Beethoven's string quartets and Schubert 's B ♭ Piano Trio . Glass cites Schubert's work as a "big influence" growing up. In
SECTION 20
#17327933440821826-596: A score drawn from existing Glass compositions created for other media including an excerpt from Akhnaten ; and In the Upper Room , Twyla Tharp , 1986), music for theatre productions Endgame (1984) and Company (1983). Beckett vehemently disapproved of the production of Endgame at the American Repertory Theater (Cambridge, Massachusetts), which featured JoAnne Akalaitis 's direction and Glass's Prelude for timpani and double bass, but in
1909-463: A sense of time influenced by Samuel Beckett: a piece for two actresses and chamber ensemble, a work for chamber ensemble and his first numbered string quartet (No. 1, 1966). Glass then left Paris for northern India in 1966, where he came in contact with Tibetan refugees and began to gravitate towards Buddhism . He met Tenzin Gyatso , the 14th Dalai Lama , in 1972, and has been a strong supporter of
1992-637: A series of five concerts, and three symphonies centered on orchestra-singer and orchestra-chorus interplay. Two symphonies, Symphony No. 5 "Choral" (1999) and Symphony No. 7 " Toltec " (2004), and the song cycle Songs of Milarepa (1997) have a meditative theme. The operatic Symphony No. 6 Plutonian Ode (2002) for soprano and orchestra was commissioned by the Brucknerhaus, Linz, and Carnegie Hall in celebration of Glass's sixty-fifth birthday, and developed from Glass's collaboration with Allen Ginsberg (poet, piano—Ginsberg, Glass), based on his poem of
2075-408: A system, and now I'd written through it and come out the other end." He now prefers to describe himself as a composer of "music with repetitive structures". Glass continued his work with a series of instrumental works, called Another Look at Harmony (1975–1977). For Glass, this series demonstrated a new start, hence the title: "What I was looking for was a way of combining harmonic progression with
2158-603: A version for string orchestra, being performed by ensembles ranging from student orchestras to renowned formations such as the Kronos Quartet and the Kremerata Baltica . This interest in writing for the string quartet and the string orchestra led to a chamber and orchestral film score for Mishima: A Life in Four Chapters ( Paul Schrader , 1984–85), which Glass recently described as his "musical turning point" that developed his "technique of film scoring in
2241-404: A very special way". Glass also dedicated himself to vocal works with two sets of songs, Three Songs for chorus (1984, settings of poems by Leonard Cohen , Octavio Paz and Raymond Lévesque ), and a song cycle initiated by CBS Masterworks Records : Songs from Liquid Days (1985), with texts by songwriters such as David Byrne , Paul Simon , in which the Kronos Quartet is featured (as it
2324-531: A violin concerto for a fellow student, Dorothy Pixley-Rothschild. After leaving Juilliard in 1962, Glass moved to Pittsburgh and worked as a school-based composer-in-residence in the public school system, composing various choral, chamber, and orchestral music. In 1964, Glass received a Fulbright Scholarship ; his studies in Paris with the eminent composition teacher Nadia Boulanger , from autumn of 1964 to summer of 1966, influenced his work throughout his life, as
2407-495: Is an American composer and pianist . He is widely regarded as one of the most influential composers of the late 20th century. Glass's work has been associated with minimalism , being built up from repetitive phrases and shifting layers. Glass describes himself as a composer of "music with repetitive structures", which he has helped to evolve stylistically. He founded the Philip Glass Ensemble , which
2490-573: Is in Mishima ) in a prominent role. Glass also continued his series of operas with adaptations from literary texts such as The Juniper Tree (an opera collaboration with composer Robert Moran , 1984), Edgar Allan Poe 's The Fall of the House of Usher (1987), and also worked with novelist Doris Lessing on the opera The Making of the Representative for Planet 8 (1985–86, and performed by
2573-698: Is still in existence, but Glass no longer performs with the ensemble. He has written 15 operas , numerous chamber operas and musical theatre works, 14 symphonies , 12 concertos , nine string quartets , various other chamber music pieces, and many film scores . He has received nominations for four Grammy Awards for including two for Best Contemporary Classical Composition for Satyagraha (1987) and String Quartet No. 2 (1988). He has received three Academy Award for Best Original Score nominations for Martin Scorsese 's Kundun (1997), Stephen Daldry 's The Hours (2002), and Richard Eyre 's Notes on
Austin Opera - Misplaced Pages Continue
2656-455: Is very clear and very traditional; it's almost classical in sound", as the conductor Dennis Russell Davies notes. Grammy Trustees Award The Grammy Trustees Award is awarded by The Recording Academy to "individuals who, during their careers in music, technology, and so on have made significant contributions, other than performance, to the field of recording". From 1983 onwards, performers could also receive this award. This award
2739-641: The Cleveland Orchestra , the Rotterdam Philharmonic Orchestra , and the Atlanta Symphony Orchestra : The Light (1987), The Canyon (1988), and Itaipu (1989). While composing for symphonic ensembles, Glass also composed music for piano, with the cycle of five movements titled Metamorphosis (adapted from music for a theatrical adaptation of Franz Kafka 's The Metamorphosis ), and for
2822-869: The Errol Morris film The Thin Blue Line , 1988. In the same year Glass met the poet Allen Ginsberg by chance in a book store in the East Village of New York City, and they immediately "decided on the spot to do something together, reached for one of Allen's books and chose Wichita Vortex Sutra ", a piece for reciter and piano which in turn developed into a music theatre piece for singers and ensemble, Hydrogen Jukebox (1990). Glass also returned to chamber music; he composed two String Quartets ( No. 4 Buczak in 1989 and No. 5 in 1991), and chamber works which originated as incidental music for plays, such as Music from "The Screens" (1989/1990). This work originated in one of many theater music collaborations with
2905-535: The Houston Grand Opera and English National Opera in 1988). Compositions such as Company , Facades and String Quartet No. 3 (the last two extracted from the scores to Koyaanisqatsi and Mishima ) gave way to a series of works more accessible to ensembles such as the string quartet and symphony orchestra , in this returning to the structural roots of his student days. In taking this direction his chamber and orchestral works were also written in
2988-696: The International Rescue Committee . Glass developed his appreciation of music from his father, discovering later his father's side of the family had many musicians. His cousin Cevia was a classical pianist , while others had been in vaudeville . He learned his family was also related to Al Jolson . Glass's father often received promotional copies of new recordings at his music store. Glass spent many hours listening to them, developing his knowledge and taste in music. This openness to modern sounds affected Glass at an early age: My father
3071-625: The Philip Glass Ensemble in the Whitney Museum of American Art in 1969 and in the Solomon R. Guggenheim Museum in 1970, often encountering hostile reaction from critics, but Glass's music was also met with enthusiasm from younger artists such as Brian Eno and David Bowie (at the Royal College of Art ca. 1970). Eno described this encounter with Glass's music as one of the "most extraordinary musical experiences of [his] life", as
3154-507: The Relache Ensemble ) or Echorus (a version of Etude No. 2 for two violins and string orchestra, written for Edna Mitchell and Yehudi Menuhin 1995). Glass's prolific output in the 1990s continued to include operas with an opera triptych (1991–1996), which the composer described as an "homage" to writer and film director Jean Cocteau , based on his prose and cinematic work: Orphée (1950), La Belle et la Bête (1946), and
3237-410: The "improvisatory chords" of its beginning a toccata of Froberger or Frescobaldi , and 18th century music. Two years later, the concerti series continued with Piano Concerto No. 2: After Lewis and Clark (2004), composed for the pianist Paul Barnes . The concerto celebrates the pioneers' trek across North America, and the second movement features a duet for piano and Native American flute . With
3320-517: The 1st-century-Roman playwright Seneca and allusions to the music of Giuseppe Verdi and from the American Civil War , featuring the 19th century figures Giuseppe Garibaldi and Robert E. Lee as characters. In the mid-1980s, Glass produced "works in different media at an extraordinarily rapid pace". Projects from that period include music for dance ( Glass Pieces choreographed for New York City Ballet by Jerome Robbins in 1983 to
3403-535: The Philip Glass Ensemble (while Reich formed Steve Reich and Musicians ), an amplified ensemble including keyboards, wind instruments (saxophones, flutes), and soprano voices. Glass's music for his ensemble culminated in the four-hour-long Music in Twelve Parts (1971–1974), which began as a single piece with twelve instrumental parts but developed into a cycle that summed up Glass's musical achievement since 1967, and even transcended it—the last part features
Austin Opera - Misplaced Pages Continue
3486-449: The Philip Glass Ensemble originated as music for film and TV: North Star (1977 score for the documentary North Star: Mark di Suvero by François de Menil and Barbara Rose ) and four short cues for the children's TV series Sesame Street named Geometry of Circles (1979). Another series, Fourth Series (1977–79), included music for chorus and organ ("Part One", 1977), organ and piano ("Part Two" and "Part Four", 1979), and music for
3569-709: The Tibetan independence ever since. Glass' musical style is instantly recognizable, with its trademark churning ostinatos , undulating arpeggios and repeating rhythms that morph over various lengths of time atop broad fields of tonal harmony. That style has taken permanent root in our pop-middlebrow sensibility. Glass' music is now indelibly a part of our cultural lingua franca , just a click away on YouTube. John von Rhein, Chicago Tribune writer Shortly after arriving in New York City in March 1967, Glass attended
3652-643: The audience which consisted mainly of visual and performance artists who were highly sympathetic to Glass's reductive approach. Apart from his music career, Glass had a moving company with his cousin, the sculptor Jene Highstein , and also worked as a plumber and cab driver (during 1973 to 1978). He recounts installing a dishwasher and looking up from his work to see an astonished Robert Hughes , Time magazine's art critic, staring at him. During this time, he made friends with other New York-based artists such as Sol LeWitt , Nancy Graves , Michael Snow , Bruce Nauman , Laurie Anderson , and Chuck Close (who created
3735-516: The chamber opera The Sound of a Voice , Glass's Piano Concerto No. 2 might be regarded as bridging his traditional compositions and his more popular excursions to World Music , also found in Orion (also composed in 2004). Waiting for the Barbarians , an opera from J. M. Coetzee 's novel (with the libretto by Christopher Hampton ), had its premiere performance in September 2005. Glass defined
3818-559: The co-author of Einstein on the Beach , Robert Wilson , on Monsters of Grace (1998), and created a biographic opera on the life of astronomer Galileo Galilei (2001). In the early 2000s, Glass started a series of five concerti with the Tirol Concerto for Piano and Orchestra (2000, premiered by Dennis Russell Davies as conductor and soloist), and the Concerto Fantasy for Two Timpanists and Orchestra (2000, for
3901-407: The composer admitted in 1979: "The composers I studied with Boulanger are the people I still think about most— Bach and Mozart ." Glass later wrote in his autobiography Music by Philip Glass in 1987 that the new music performed at Pierre Boulez 's Domaine Musical concerts in Paris lacked any excitement for him (with the notable exceptions of music by John Cage and Morton Feldman ), but he
3984-435: The composer's personal life: the opera was composed after the unexpected death in 1991 of Glass's wife, artist Candy Jernigan : "... One can only suspect that Orpheus' grief must have resembled the composer's own", K. Robert Schwartz suggests. The opera's "transparency of texture, a subtlety of instrumental color, ... a newly expressive and unfettered vocal writing" was praised, and The Guardian 's critic remarked "Glass has
4067-534: The composer, it is also a hybrid work and exists in two versions: one for the concert hall, and another, shorter one for dance, choreographed by Twyla Tharp . Another commission by Dennis Russell Davies was a second series for piano, the Etudes for Piano (dedicated to Davies as well as the production designer Achim Freyer ); the complete first set of ten Etudes has been recorded and performed by Glass himself. Bruce Brubaker and Dennis Russell Davies have each recorded
4150-566: The concert hall commenced with the three-movement Violin Concerto No. 1 (1987). This work was commissioned by the American Composers Orchestra and written for and in close collaboration with the violinist Paul Zukofsky and the conductor Dennis Russell Davies, who since then has encouraged the composer to write numerous orchestral pieces. The Concerto is dedicated to the memory of Glass's father: "His favorite form
4233-537: The director JoAnne Akalaitis , who originally asked the Gambian musician Foday Musa Suso "to do the score [for Jean Genet 's The Screens ] in collaboration with a western composer". Glass had already collaborated with Suso in the film score to Powaqqatsi ( Godfrey Reggio , 1988). Music from "The Screens" is on occasion a touring piece for Glass and Suso (one set of tours also included percussionist Yousif Sheronick ), and individual pieces found their way into
SECTION 50
#17327933440824316-404: The end, he authorized the music for Company , four short, intimate pieces for string quartet that were played in the intervals of the dramatization. This composition was initially regarded by the composer as a piece of Gebrauchsmusik ('music for use')—"like salt and pepper ... just something for the table", as he noted. Eventually Company was published as Glass's String Quartet No. 2 and in
4399-564: The experimental theatre group Mabou Mines ). Together with Akalaitis (they married in 1965), Glass in turn attended performances by theatre groups including Jean-Louis Barrault 's Odéon theatre, The Living Theatre and the Berliner Ensemble in 1964 to 1965. These significant encounters resulted in a collaboration with Breuer for which Glass contributed music for a 1965 staging of Samuel Beckett 's Comédie ( Play , 1963). The resulting piece (written for two soprano saxophones )
4482-429: The film". The final part of the triptych returned again to a more traditional setting with the "Dance Opera" Les Enfants terribles (1996), scored for voices, three pianos and dancers, with choreography by Susan Marshall . The characters are depicted by both singers and dancers. The scoring of the opera evokes Bach's Concerto for Four Harpsichords , but in another way also "the snow, which falls relentlessly throughout
4565-543: The films by Cocteau. The inspiration of the first part of the trilogy, Orphée (composed in 1991, and premiered in 1993 at the American Repertory Theatre ) can be conceptually and musically traced to Gluck's opera Orfeo ed Euridice ( Orphée et Euridyce , 1762/1774), which had a prominent part in Cocteau's 1949 film Orphee . One theme of the opera, the death of Eurydice , has some similarity to
4648-691: The first opera of his portrait opera trilogy: Einstein on the Beach . Composed in spring to fall of 1975 in close collaboration with Wilson, Glass's first opera was first premiered in summer 1976 at the Festival d'Avignon , and in November of the same year to a mixed and partly enthusiastic reaction from the audience at the Metropolitan Opera in New York City. Scored for the Philip Glass Ensemble, solo violin, chorus, and featuring actors (reciting texts by Christopher Knowles , Lucinda Childs and Samuel M. Johnson), Glass's and Wilson's essentially plotless opera
4731-424: The first public appearance of the 14th Dalai Lama in New York City in fall 1981. The piece demonstrates Glass's turn to more traditional models: the composer added a conclusion to an open-structured piece which "can be interpreted as a sign that he [had] abandoned the radical non-narrative, undramatic approaches of his early period", as the pianist Steffen Schleiermacher points out. In spring 1978, Glass received
4814-569: The four movements of his Third Symphony, Glass treats a 19-piece string orchestra as an extended chamber ensemble. In the third movement, Glass re-uses the chaconne as a formal device; one commentator characterized Glass's symphony as one of the composer's "most tautly unified works". The third Symphony was closely followed by a fourth, subtitled Heroes (1996), commissioned the American Composers Orchestra . Its six movements are symphonic reworkings of themes by Glass, David Bowie, and Brian Eno (from their album "Heroes" , 1977); as in other works by
4897-556: The keyboard was his main instrument. His composition teachers included Vincent Persichetti and William Bergsma . Fellow students included Steve Reich and Peter Schickele . In 1959, he was a winner in the BMI Foundation 's BMI Student Composer Awards, an international prize for young composers. In the summer of 1960, he studied with Darius Milhaud at the summer school of the Aspen Music Festival and composed
4980-679: The language of the audience. Akhnaten was commissioned by the Stuttgart Opera in a production designed by Achim Freyer . It premiered simultaneously at the Houston Opera in a production directed by David Freeman and designed by Peter Sellars . At the time of the commission, the Stuttgart Opera House was undergoing renovation, necessitating the use of a nearby playhouse with a smaller orchestra pit. Upon learning this, Glass and conductor Dennis Russell Davies visited
5063-580: The music of Honegger , Milhaud , and Villa-Lobos as possible models for his symphony. With the Concerto Grosso (1992), Symphony No. 3 (1995), a Concerto for Saxophone Quartet and Orchestra (1995), written for the Rascher Quartet (all commissioned by conductor Dennis Russell Davies), and Echorus (1994/95), a more transparent, refined, and intimate chamber-orchestral style paralleled the excursions of his large-scale symphonic pieces. In
SECTION 60
#17327933440825146-414: The novel Les Enfants terribles (1929, later made into a film by Cocteau and Jean-Pierre Melville , 1950). In the same way the triptych is also a musical homage to the work of the group of French composers associated with Cocteau, Les Six (and especially to Glass's teacher Darius Milhaud), as well as to various 18th-century composers such as Gluck and Bach whose music featured as an essential part of
5229-419: The opera ... bearing witness to the unfolding events. Here time stands still. There is only music, and the movement of children through space" (Glass). In the late 1990s and early 2000s, Glass's lyrical and romantic styles peaked with a variety of projects: operas, theatre and film scores ( Martin Scorsese 's Kundun , 1997, Godfrey Reggio 's Naqoyqatsi , 2002, and Stephen Daldry 's The Hours , 2002),
5312-579: The orchestra with the score of Koyaanisqatsi ( Godfrey Reggio , 1981–1982). Some pieces which were not used in the film (such as Façades ) eventually appeared on the album Glassworks (1982, CBS Records), which brought Glass's music to a wider public. The "Portrait Trilogy" was completed with Akhnaten (1982–1983, premiered in 1984), a vocal and orchestral composition sung in Akkadian , Biblical Hebrew , and Ancient Egyptian . In addition, this opera featured an actor reciting ancient Egyptian texts in
5395-467: The original set of six. Most of the Etudes are composed in the post-minimalist and increasingly lyrical style of the times: "Within the framework of a concise form, Glass explores possible sonorities ranging from typically Baroque passagework to Romantically tinged moods". Some of the pieces also appeared in different versions such as in the theatre music to Robert Wilson's Persephone (1994, commissioned by
5478-430: The playhouse, placing music stands around the pit to determine how many players the pit could accommodate. The two found they could not fit a full orchestra in the pit. Glass decided to eliminate the violins, which had the effect of "giving the orchestra a low, dark sound that came to characterize the piece and suited the subject very well". As Glass remarked in 1992, Akhnaten is significant in his work since it represents
5561-423: The repertoire of Glass and the cellist Wendy Sutter. Another collaboration was a collaborative recording project with Ravi Shankar , initiated by Peter Baumann (a member of the band Tangerine Dream ), which resulted in the album Passages (1990). In the late 1980s and early 1990s, Glass's projects also included two highly prestigious opera commissions based on the life of explorers: The Voyage (1992), with
5644-405: The rhythmic structure I had been developing, to produce a new overall structure. ... I'd taken everything out with my early works and it was now time to decide just what I wanted to put in—a process that would occupy me for several years to come." Parts 1 and 2 of Another Look at Harmony were included in a collaboration with Robert Wilson , a piece of musical theater later designated by Glass as
5727-631: The same conclusion, comparing the solo violin music to Johann Sebastian Bach , and the "organ figures ... to those Alberti basses Mozart loved so much". The piece was praised by The Washington Post as "one of the seminal artworks of the century". Einstein on the Beach was followed by further music for projects by the theatre group Mabou Mines such as Dressed like an Egg (1975), and again music for plays and adaptations from prose by Samuel Beckett , such as The Lost Ones (1975), Cascando (1975), Mercier and Camier (1979). Glass also turned to other media; two multi-movement instrumental works for
5810-753: The same name, originally planned for an "international arts festival that would accompany the Olympic Games in Los Angeles". (Glass also composed a prestigious work for chorus and orchestra for the opening of the Games, The Olympian: Lighting of the Torch and Closing ). The premiere of The CIVIL warS in Los Angeles never materialized and the opera was in the end premiered at the Opera of Rome. Glass's and Wilson's opera includes musical settings of Latin texts by
5893-571: The same name. Besides writing for the concert hall, Glass continued his ongoing operatic series with adaptions from literary texts: The Marriages of Zones 3, 4 and 5 ([1997] story-libretto by Doris Lessing), In the Penal Colony (2000, after the story by Franz Kafka ), and the chamber opera The Sound of a Voice (2003, with David Henry Hwang), which features the Pipa , performed by Wu Man at its premiere. Glass also collaborated again with
5976-489: The scores for Broadway productions such as the revivals of The Elephant Man (2002), The Crucible (2016), and King Lear (2019). For the later he won the Drama Desk Award for Outstanding Music in a Play . Over his career Glass has received several awards including a BAFTA Award , a Drama Desk Award , and a Golden Globe Award as well as nominations for three Academy Awards , four Grammy Awards , and
6059-495: The timpanist Jonathan Haas). The Concerto for Cello and Orchestra (2001) had its premiere performance in Beijing, featuring cellist Julian Lloyd Webber ; it was composed in celebration of his fiftieth birthday. These concertos were followed by the concise and rigorously neo-Baroque Concerto for Harpsichord and Orchestra (2002), demonstrating in its transparent, chamber orchestral textures Glass's classical technique, evocative in
6142-510: The work as a "social/political opera", as a critique on the Bush administration 's war in Iraq, a "dialogue about political crisis ", and an illustration of the "power of art to turn our attention toward the human dimension of history". While the opera's themes are Imperialism , apartheid , and torture , the composer chose an understated approach by using "very simple means, and the orchestration
6225-563: The writer Constance deJong , who provided the libretto, and the set designer Robert Israel. This piece was in other ways a turning point for Glass, as it was his first work since 1963 scored for symphony orchestra, even if the most prominent parts were still reserved for solo voices and chorus. Shortly after completing the score in August 1979, Glass met the conductor Dennis Russell Davies , whom he helped prepare for performances in Germany (using
6308-648: Was Serra's regular studio assistant. Between summer of 1967 and the end of 1968, Glass composed nine works, including Strung Out (for amplified solo violin, composed in summer of 1967), Gradus (for solo saxophone, 1968), Music in the Shape of a Square (for two flutes, composed in May 1968, an homage to Erik Satie ), How Now (for solo piano, 1968) and 1+1 (for amplified tabletop, November 1968) which were "clearly designed to experiment more fully with his new-found minimalist approach". The first concert of Glass's new music
6391-430: Was at Jonas Mekas 's Film-Makers Cinemathèque ( Anthology Film Archives ) in September 1968. This concert included the first work of this series with Strung Out (performed by the violinist Pixley-Rothschild) and Music in the Shape of a Square (performed by Glass and Gibson). The musical scores were tacked on the wall, and the performers had to move while playing. Glass's new works met with a very enthusiastic response by
6474-414: Was conceived as a " metaphorical look at Albert Einstein : scientist, humanist, amateur musician—and the man whose theories ... led to the splitting of the atom", evoking nuclear holocaust in the climactic scene, as critic Tim Page pointed out. As with Another Look at Harmony , " Einstein added a new functional harmony that set it apart from the early conceptual works". Composer Tom Johnson came to
6557-454: Was deeply impressed by new films and theatre performances. His move away from modernist composers such as Boulez and Stockhausen was nuanced, rather than outright rejection: "That generation wanted disciples and as we didn't join up it was taken to mean that we hated the music, which wasn't true. We'd studied them at Juilliard and knew their music. How on earth can you reject Berio ? Those early works of Stockhausen are still beautiful. But there
6640-481: Was directly influenced by the play's open-ended, repetitive and almost musical structure and was the first one of a series of four early pieces in a minimalist, yet still dissonant , idiom. After Play , Glass also acted in 1966 as music director of a Breuer production of Brecht 's Mother Courage and Her Children , featuring the theatre score by Paul Dessau . In parallel with his early excursions in experimental theatre, Glass worked in winter 1965 and spring 1966 as
6723-614: Was just no point in attempting to do their music better than they did and so we started somewhere else." During this time, he encountered revolutionary films of the French New Wave , such as those of Jean-Luc Godard and François Truffaut , which upended the rules set by an older generation of artists, and Glass made friends with American visual artists (the sculptor Richard Serra and his wife Nancy Graves ), actors and directors ( JoAnne Akalaitis , Ruth Maleczech , David Warrilow , and Lee Breuer , with whom Glass later founded
6806-534: Was self-taught, but he ended up having a very refined and rich knowledge of classical, chamber, and contemporary music. Typically he would come home and have dinner, and then sit in his armchair and listen to music until almost midnight. I caught on to this very early, and I would go and listen with him. The elder Glass promoted both new recordings and a wide selection of composers to his customers, sometimes convincing them to try something new by allowing them to return records they did not like. His store soon developed
6889-752: Was the violin concerto, and so I grew up listening to the Mendelssohn , the Paganini , the Brahms concertos. ... So when I decided to write a violin concerto, I wanted to write one that my father would have liked." Among its multiple recordings, in 1992, the Concerto was performed and recorded by Gidon Kremer and the Vienna Philharmonic . This turn to orchestral music was continued with a symphonic trilogy of "portraits of nature", commissioned by
#81918