אתה משתמש בדפדפן מיושן. יתכן והאתר הנוכחי יוצג באופן שגוי, כמו כן אתרים אחרים ברשת.
אנא שדרג את הדפדפן או השתמש בדפדפן חילופי.
אנא שדרג את הדפדפן או השתמש בדפדפן חילופי.
פיליפ גלאס!!!
- פותח הנושא nute kram
- פורסם בתאריך
CaerBannog
New member
מלחי מינימליסטי
אני אישית די אוהב אותו אבל לא ממש מכיר מספיק כדי לתת מלצות, לכי לפורום מוזיקה מינמליסטית
אני אישית די אוהב אותו אבל לא ממש מכיר מספיק כדי לתת מלצות, לכי לפורום מוזיקה מינמליסטית
CaerBannog
New member
*מלחין
HelterSkelter1
New member
הביוגרפיה של גלאס
Born in Baltimore on January 31, 1937, Philip Glass discovered music in his father's radio repair shop. In addition to servicing radios, Ben Glass carried a line of records and, when certain ones sold poorly, he would take them home and play them for his three children, trying to discover why they didn't appeal to customers. These happened to be recordings of the great chamber works, and the future composer rapidly became familiar with Beethoven quartets, Schubert sonatas, Shostakovitch symphonies and other music then considered "offbeat". It was not until he was in his upper teens did Glass begin to encounter more "standard" classics. Glass began the violin at six and became serious about music when he took up the flute at eight. But by the time he was 15, he had become frustrated with the limited flute repertoire as well as with musical life in post-war Baltimore. During his second year in high school, he applied for admission to the University of Chicago, passed and, with his parent's encouragement, moved to Chicago where he supported himself with part-time jobs waiting tables and loading airplanes at airports. During off-hours, he practiced piano and concentrated on such composers as Ives and Webern. At 19, Glass graduated from the University of Chicago with a major in mathematics and philosophy. Determined to become a composer, he moved to New York and attended the Julliard School. By then he had abandoned the 12-tone techniques he had been using in Chicago and preferred American composers like Aaron Copland and William Schuman. By the time he was 23, Glass had studied with Vincent Persichetti, Darius Milhaud and William Bergsma. He had rejected serialism and preferred such maverick composers as Harry Partch, Charles Ives, Moondog, Henry Cowell and Virgil Thomson, but he still had not found his own voice. Still searching, he moved to Paris and spent two years of intensive study under Nadia Boulanger. In Paris, he was hired by a film-maker to transcribe the Indian music of Ravi Shankar into notation readable to French musicians. In the process, he discovered the techniques of Indian music. After researching music in North Africa, India and the Himalayas, he returned to New York, renouncing his previous music, and began to apply eastern techniques to his own work. By 1974, he had composed a large collection of new music, not only for use by the theater company Mabou Mines (Glass was one of the co-founders), but mainly for his own performing group, the Philip Glass Ensemble. This period culminated in Music in Twelve Parts, a three-hour summation of Glass' new music; and reached its apogee in 1976 with the Philip Glass / Robert Wilson opera Einstein on the Beach, the 4-½ hour epic now seen as a landmark in 20th century music-theater. In addition to Einstein, Glass has collaborated with Robert Wilson on several other projects including: the CIVIL warS - Act V (Rome Section) of the multi-composer epic was written for the 1984 Olympic Games, White Raven, an opera commissioned by Portugal to celebrate its history of discovery and premiered at EXPO '98 in Lisbon, and Monsters of Grace, a digital 3-D opera. Glass has collaborated with a variety of artists in a range of media such as: Opera - Satyagraha, Akhnaten, The Making of the Representative for Planet 8 (libretto by Doris Lessing), The Fall of the House of Usher, Hydrogen Jukebox (libretto by Allen Ginsberg), and The Voyage (libretto by David Henry Hwang); Film - Koyaanisqatsi, Mishima, Powaqqatsi, The Thin Blue Line, A Brief History of Time, Candyman, Dracula; Dance - A Descent into the Maelstrom and In the Upper Room (choreographed by Twyla Tharp); Theatre works - The Photographer, 1000 Airplanes on the Roof (libretto by David Henry Hwang), The Mysteries and What's so Funny?, and Orphée, La Belle et La Bête and Les Enfants Terribles (a trilogy of musical theater pieces based on the films of Jean Cocteau); Cooperative recording projects - Songs from Liquid Days (Lyrics by David Byrne, Paul Simon, Laurie Anderson, and Suzanne Vega), Passages (co-written with Ravi Shankar); Orchestral works - Itaipu (a large-scale work for chorus and orchestra), Symphony No. 2, Symphony No. 3, the "Low" and "Heroes" Symphonies (both based on the music of David Bowie and Brian Eno), and Symphony No. 5 - Requiem, Bardo and Nirmanakaya, (a large scale work for chorus, voice, and orchestra). Critically acclaimed film scores include: Kundun, directed by Martin Scorsese (1998 LA Critics Award, Academy, Golden Globe, and Grammy nomination for Best Original Score) and original music for The Truman Show directed by Peter Weir (1999 Golden Globe Award for Best Score). Glass' most current composing projects include: Concerto Fantasy for Two Timpanists and Orchestra which premiered at Avery Fisher Hall in November 2000; In the Penal Colony, a musical theater work based on the short story by Franz Kafka, commissioned by A Contemporary Theater, Seattle in 2000; Voices for Didgeridoo, Organ and Narrator, commissioned by the City of Melbourne Australia and slated for a world premiere in May 2001; Concerto for Cello and Orchestra, commissioned for Julian Lloyd Webber's 50th Birthday premiering at the Beijing Festival in October 2001; and a film score for Naqoyqatsi, the third part of the Glass / Reggio Trilogy. Glass' current touring projects include: The Screens with co-writer and performer Foday Musa Suso, and Philip on Film, a culmination of 25 years of Philip Glass work in film featuring the debuts of new short films as well as classics that Glass reinvented for live performance (including Koyaanisqatsi, Powaqqatsi, La Belle et La Bête, Dracula). Updated February 2001
Born in Baltimore on January 31, 1937, Philip Glass discovered music in his father's radio repair shop. In addition to servicing radios, Ben Glass carried a line of records and, when certain ones sold poorly, he would take them home and play them for his three children, trying to discover why they didn't appeal to customers. These happened to be recordings of the great chamber works, and the future composer rapidly became familiar with Beethoven quartets, Schubert sonatas, Shostakovitch symphonies and other music then considered "offbeat". It was not until he was in his upper teens did Glass begin to encounter more "standard" classics. Glass began the violin at six and became serious about music when he took up the flute at eight. But by the time he was 15, he had become frustrated with the limited flute repertoire as well as with musical life in post-war Baltimore. During his second year in high school, he applied for admission to the University of Chicago, passed and, with his parent's encouragement, moved to Chicago where he supported himself with part-time jobs waiting tables and loading airplanes at airports. During off-hours, he practiced piano and concentrated on such composers as Ives and Webern. At 19, Glass graduated from the University of Chicago with a major in mathematics and philosophy. Determined to become a composer, he moved to New York and attended the Julliard School. By then he had abandoned the 12-tone techniques he had been using in Chicago and preferred American composers like Aaron Copland and William Schuman. By the time he was 23, Glass had studied with Vincent Persichetti, Darius Milhaud and William Bergsma. He had rejected serialism and preferred such maverick composers as Harry Partch, Charles Ives, Moondog, Henry Cowell and Virgil Thomson, but he still had not found his own voice. Still searching, he moved to Paris and spent two years of intensive study under Nadia Boulanger. In Paris, he was hired by a film-maker to transcribe the Indian music of Ravi Shankar into notation readable to French musicians. In the process, he discovered the techniques of Indian music. After researching music in North Africa, India and the Himalayas, he returned to New York, renouncing his previous music, and began to apply eastern techniques to his own work. By 1974, he had composed a large collection of new music, not only for use by the theater company Mabou Mines (Glass was one of the co-founders), but mainly for his own performing group, the Philip Glass Ensemble. This period culminated in Music in Twelve Parts, a three-hour summation of Glass' new music; and reached its apogee in 1976 with the Philip Glass / Robert Wilson opera Einstein on the Beach, the 4-½ hour epic now seen as a landmark in 20th century music-theater. In addition to Einstein, Glass has collaborated with Robert Wilson on several other projects including: the CIVIL warS - Act V (Rome Section) of the multi-composer epic was written for the 1984 Olympic Games, White Raven, an opera commissioned by Portugal to celebrate its history of discovery and premiered at EXPO '98 in Lisbon, and Monsters of Grace, a digital 3-D opera. Glass has collaborated with a variety of artists in a range of media such as: Opera - Satyagraha, Akhnaten, The Making of the Representative for Planet 8 (libretto by Doris Lessing), The Fall of the House of Usher, Hydrogen Jukebox (libretto by Allen Ginsberg), and The Voyage (libretto by David Henry Hwang); Film - Koyaanisqatsi, Mishima, Powaqqatsi, The Thin Blue Line, A Brief History of Time, Candyman, Dracula; Dance - A Descent into the Maelstrom and In the Upper Room (choreographed by Twyla Tharp); Theatre works - The Photographer, 1000 Airplanes on the Roof (libretto by David Henry Hwang), The Mysteries and What's so Funny?, and Orphée, La Belle et La Bête and Les Enfants Terribles (a trilogy of musical theater pieces based on the films of Jean Cocteau); Cooperative recording projects - Songs from Liquid Days (Lyrics by David Byrne, Paul Simon, Laurie Anderson, and Suzanne Vega), Passages (co-written with Ravi Shankar); Orchestral works - Itaipu (a large-scale work for chorus and orchestra), Symphony No. 2, Symphony No. 3, the "Low" and "Heroes" Symphonies (both based on the music of David Bowie and Brian Eno), and Symphony No. 5 - Requiem, Bardo and Nirmanakaya, (a large scale work for chorus, voice, and orchestra). Critically acclaimed film scores include: Kundun, directed by Martin Scorsese (1998 LA Critics Award, Academy, Golden Globe, and Grammy nomination for Best Original Score) and original music for The Truman Show directed by Peter Weir (1999 Golden Globe Award for Best Score). Glass' most current composing projects include: Concerto Fantasy for Two Timpanists and Orchestra which premiered at Avery Fisher Hall in November 2000; In the Penal Colony, a musical theater work based on the short story by Franz Kafka, commissioned by A Contemporary Theater, Seattle in 2000; Voices for Didgeridoo, Organ and Narrator, commissioned by the City of Melbourne Australia and slated for a world premiere in May 2001; Concerto for Cello and Orchestra, commissioned for Julian Lloyd Webber's 50th Birthday premiering at the Beijing Festival in October 2001; and a film score for Naqoyqatsi, the third part of the Glass / Reggio Trilogy. Glass' current touring projects include: The Screens with co-writer and performer Foday Musa Suso, and Philip on Film, a culmination of 25 years of Philip Glass work in film featuring the debuts of new short films as well as classics that Glass reinvented for live performance (including Koyaanisqatsi, Powaqqatsi, La Belle et La Bête, Dracula). Updated February 2001
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