PHILIP ON FILM pomegranate arts
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For all press requests and inquiries, please contact Carla Sacks or Joe Cohen at Sacks and Co., 212.741.1000.

Carla Sacks, Publicist:

Chris Schimpf, Publicist:


"The most powerful composer of our time... what Glass is doing is changing the face of music for our time and all time."
-The Daily Telegraph

"The very thought of a world-famous composer playing a piano recital of his own music is mind-boggling...[Glass' recital] emits the gentle charm of the man himself, the combination of modesty and self-confidence that conquers and disarms an audience... People wandered away, looking as if they had been present at something important. And of course, they had been."
-Charleston Post & Courier

"Glass's Etudes waxed delicate and grandiose, sultry and melancholy, ghostly and hard-edged."
-The New York Times

"No musician since Stravinsky has had so great an impact on the sound of music of his own time…his music remains as fresh and individual as ever... This program clearly demonstrated the reflective power of Glass' music... The audience's response was overwhelming."
-High Performance

"Get the man alone with a piano and…emotion becomes a guiding element... the live performance was as sensitive and nuanced as a Debussy prelude... involving and haunting."
-Arizona Daily Star

"“[Glass is] an excellent pianist... as authoritative as you can get."
-Charleston Post & Courier

"Glass is an irresistible presence; indeed, he isn't merely charismatic—he's downright lovable."
-Daily Camera (Boulder, CO)

"To hear Philip Glass play the piano live was…extremely humbling. Hearing those famous modulations...played by Glass himself was like receiving a manuscript directly from the hands of Shakespeare."
-Politikken (Denmark)


"Tim Fain, the recipiant of both an Avery Fisher Career Grantand a Young Concert Artists International Award, met Glass during a recent tour of the composer's Book of Longing, a 2007 song cycle based on the poetry and artwork of Leonard Cohen, where Fain was the solo violinist. The two quickly agreed to work together again and in the Netherlands in May of 2011, Fain premiered the Partita for Solo Violin in Seven Movements, written specifically for him by Glass." -WQXR

"Fain is one of the few soloists for whom Glass has composed solo material; asked why, Glass answered, 'Because he's that good.'" — Village Voice

"Fain came on by himself to play the "Partita for Solo Violin in Seven Movements," a piece the two have worked on and refined over many months. Glass thought it was probably the New York premiere of its final form, and apologizedfor the fact that it was 32 minutes long. Watching Fain play Glass's "Pendulum" from memory at the Tibet House Concert in February was pretty spellbinding, and watching him play this half-hour piece was something altogether more incredible. Partita was much more contemplative in various arias than "Pendulum," which rushes at the kind of pace it seems like the kind of piece a violinist would play to show off their speed and skill." —VIllage Voice

"Tim Fain came out with his violin after a few of Glass's pieces, and though it might seem like a rough gig to have to play anything after Philip Glass, Fain, too, is - you guessed it - an incredible performer, working through the technically difficult (understatement) and emotively expansive (double-understatement) partita with a physical grace most people pine for when watching sporting events, all on an instrument older than these United States, no less." — Pitch

i"...[E]ach musician plays an instrument that ends up seeming like an extension of his own body, that somehow he can control the timbre produced from wood and catgut better than most of us can control our own mouths or eyes." — Pitch

"...transcendent, technically rich and intercontinentally flavored music..." — Pitch

"Playing from memory, Fain tore through the furious double stops, rhapsodic melodic flights and other Glassian-Bachian flourishes like a possessed dervish. If you didn't know all the music was written down, you'd have thought the California-born fiddle virtuoso (at 35, Fain is an alumnus of Ravinia's Steans Music Institute) was improvising the entire piece." — Chicago Tribune



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"Glass's music for KOYAANISQATSI has only gained in stature over the past 18 years...[the] score has countless thrilling moments ...sharply etched and consistently inspired...a masterpiece."
-The New York Times

"The audience sat silently through the film, and then erupted into an uninhibited cheering that was almost frightening in its intensity...the score for KOYAANISQATSI is invigorating, often tremulously beautiful, and almost extraordinarily in synergy with the visions projected upon the screen...Reggio's images haunt the viewer, accompanied by one of the most startling and original soundtracks ever written."
-The New York Times

"...A landmark film, KOYAANISQATSI grabs you almost instantly...Afterward, images flood your mind for days, for weeks...the images amaze us, but the staggering score by Glass guides us, giving the film a Wagnerian sense of apocalypse here and now, while at the same time affirming and reaffirming the life force so strong on our city streets...5*****"
-Los Angeles Magazine

"KOYAANISQATSI delivers satisfaction on so many levels that it could excite mass audiences...The score by Philip Glass is an outstanding achievement. Striking and intense, it has been so well executed that it melds with the visuals perfectly, always enhancing, never distracting or overpowering. The union of the music and cinematography is a blessed one that redefines the potential of filmmaking."
-Hollywood Reporter

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"A Masterpiece...."
-LA Weekly

"POWAQQATSI may be Glass' best work of the decade."
-New York Times

"A stunning tour-de-force...A powerful emotional experience."

"...Radiantly filmed images...Glass has composed his most startling and original score in years."
-Christian Science Monitor

"[Glass' score is...] joyously tonal, craftily integrated...In this music there is much pleasure and poetry as well as technical skill...the composer's finest work in several years."
-Los Angeles Times

"Reggio's films are visual works of no other films ever made. POWAQQATSI is magnificent movie making that emphasizes the power and beauty of the visual image. Reggio is a visionary artist and POWAQQATSI is must viewing...A fascinating and beautiful non-narrative film with superb music by Philip Glass."
-Gannet News Service

"***1/2 Fascinating and unique...a symphonic visual poem...[POWAQQATSI is ] utterly compelling. Reggio has done something truly remarkable..."
-NY Daily News

"[POWAQQATSI is...] a masterpiece in the art of cinema."
-Toronto Sun

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"A new form of musical theater...this work should not be missed."
-New York Times

"A beautiful, superbly integrated work...this is Glass' best work in years...remarkable not only in conception but also in execution, brimming with freshets of melody and singing with a Wagnerian power...The restless relentless energy of the score...pulls one into the film in a way that mere background music never could. Even Wagner, who knew something about magic himself, might have been impressed."
-Time Magazine

"Mr. Glass has pressed his music into the mold of the movie, and produced something quite different-so different that it works extraordinarily well...This is the best sort of film music."
-The New Yorker

"An act of veneration of one artist for another, educational, entertaining and the shape of things to come."
-Evening Standard (London)

"A new form invented by Philip Glass, an "opera for Ensemble and film," completely unexpected and absolutely successful."
-Le Monde (Paris)

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"DRACULA...was fitted with a tactful, lyrical Philip Glass score...with signal success. Glass's pulsing music was a perfect match for the old bloodsucker. By filling long silent passages with classic emotion in a modern vein, it restored DRACULA's urgency and dream-like dignity."
-Wall Street Journal

"Browning's still gorgeously foreboding images look as if they were shot yesterday...the score with its almost clinical clarity and eeriness manages the feat of being both a quintessential Glass work and a canny homage to the great horror scores of yore. ****4 stars."
-Premiere Magazine

"[Dracula] is beautifully restored...Glass has matched his new composition with Tod Browning's eerie images, in a performance that underlined the experience without upstaging it."
-Chicago Sun-Times

"Glass' score redefines the movie...Lugosi and Glass clearly benefit from each other's artistry. [The score] gave dignity and romanticism to the iconic image of Lugosi's penetrating gaze... Catch it if you can."

"A night to remember...Bewitching and hypnotic"
-Toronto Globe and Mail

"A Halloween treat...stunning"
-Time Out New York

"An exhilarating musical experience"
-San Francisco Chronicle

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