This elegantly packaged 10 disc retrospective surveys four decades of work by Philip Glass, from his earliest solo pieces to his world-renowned operas to his Oscar-nominated film scores. In music, words and pictures, it traces the evolution, as critic Tim Page puts it in his liner notes essay, of 'the first composer to win a wide, multi-generational audience in the opera house, the concert hall, the dance world, in film and in popular music-simultaneously.' The long-awaited release of this set follows this past spring's triumphal new staging of Glass's 1980 Satyagraha at the Metropolitan Opera House…
With SOLO PIANO, Glass presents himself "unplugged" - no electronic keyboards or synthesizers, and no overdubs, either - just solo piano. Here, Glass' connection to the established "classical" tradition is most evident. Though his pieces are "minimal" (subtly altered repeated patterns or melodic motifs), yet they have an unsentimental beauty and heartfelt grace that one would hear in J.S. Bach's English Suites, as well as the piano music of Chopin and Erik Satie.
This may be the single most powerful piece of music that the Kronos Quartet has ever recorded, and perhaps that Terry Riley has ever written. This is because Requiem for Adam is so personal, so direct, and experiential. Requiem for Adam was written after the death of Kronos violinist David Harrignton's son. He died, in 1995, at the age of 16, from an aneurysm in his coronary artery. Riley, who is very close to the Harringtons and has a son the same age, has delved deep into the experience of death and resurrection, or, at the very least, transmutation. Requiem for Adam is written in three parts, or movements. The first, "Ascending the Heaven Ladder," is based on a four-note pattern that re-harmonizes itself as it moves up the scale. There are many variations and series based on each of these notes and their changing harmonics, and finally a 5/4 dance as it moves to the highest point on the strings. The drone-like effect is stunning when the listener realizes that the drone is changing shape too, ascending the scale, moving ever upward and taking part in the transmutation of harmony.
Solo piano works, recorded live in Moscow Conservatory on April 18th, 2000. Russian-only release on the Long Arms label. Pieces include: 'Arica', 'Havana Man', 'Negro Hall', 'The Ecstasy', 'Missigono', 'Requiem For Wally'. "The following pieces appear without any editing of the performance. Large sections of these pieces are improvised and I have attempted to preserve the spontaneity of this special evening by presenting my first concert in Moscow exactly as it was played. I hope in some way my offering of this evenings music reflects the deep respect I hold for the great musical traditions of Russia and the Masters who have reached for the stars before me with their awesome genius."– Terry Riley.
"After the widely noticed performance at the „Acht Brücken Festival 2016” at Cologne's Philharmonic Hall, Gregor Schwellenbach, Hauschka, Erol Sarp (of „Grandbrothers“), Daniel Brandt, Paul Frick (both of "Brandt Brauer Frick") and John Kameel Farah will be releasing their interpretation of Steve Reich’s "Six Pianos" as a studio recording via FILM. The re-recording of this piece is an interpretation of Reich’s composition but still far more than just that – it is a modern approach to his idea behind it. "Keyboard Study #1" by Terry Riley is a worthy b-side opposed to Reich’s composition. The piece is kind of a building set of ever lengthening, repetitive patterns played against each other with the right and left hand displaced. The composition proposes various possible combinations for the performer to choose from and repeat at will. And what the performers have chosen proves Gregor Schwellenbach’s assumption: "Especially Terry Riley’s and Steve Reich’s music are open doors for pianists socialized by pop music and their audience".