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PHILIP GLASS: PRESS
For all press requests and inquiries, please contact Carla Sacks or Brian Shimkovitz at Sacks and Co., 212.741.1000.
"The most powerful composer of our time... what Glass is doing is changing the face of music for our time and all time."
"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."
"Glass's Etudes waxed delicate and grandiose, sultry and melancholy, ghostly and hard-edged."
"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."
"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."
"“[Glass is] an excellent pianist... as authoritative as you can get."
"Glass is an irresistible presence; indeed, he isn't merely charismatic—he's downright lovable."
"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."
"Song and Poems is a miraculous and moving set of Bach-inspired solo
suites for our day... The music of Philip Glass successfully bypasses
the brain. It's so deeply marinaded and self-digested that, in
performance, it works directly on the nerves and senses. That, no doubt,
is why the Barbican Hall was sold out."
"[Sutter] tore into the opening, grabbing handfuls of notes, while the cello richly savored the music, now declaiming, now singing and occasionally squaking at a moment of particular intensity... [Songs & Poems for Solo Cello] moved through differect scenes, like a promenade past colored tapestries."
"It may be [Glass'] most expressive piece. The plaintive, seven-movement work, introspective yet expansive, could pass for a long lost Bach cello suite. It's Baroque in flavor, yet it's the first major solo cello work of the 21st century."
"Glass' inventiveness shone...Glass seemed to be channeling Bach's probing solo cello suites while simultaneously breaking his own fresh ground in this lyrical, tough-minded, sinewy work.
"I found it not merely pleasant, but gripping... Songs and Poems maintains an unusual degree of directness and warmth."
"There is a certain intimacy to the piece that is notably absent from Glass' other works, perhaps due to Sutter's sublime, lyrical cello playing."
"I stopped counting (movements) around the second or third piece, carried away in the headlong rush and intensity of the piece... Songs and Poems is deeply Romantic in spirit, and at the same time deeply Baroque, unavoidably bringing to mind the Bach suites for solo cello…This is a major work, and a major addition to the cello repertory." "Songs and Poems is a miraculous and moving set of Bach-inspired solo
suites for our day... The music of Philip Glass successfully bypasses the brain. It's so deeply marinaded and self-digested that, in performance, it works directly on the nerves and senses. That, no doubt, is why the Barbican Hall was sold out."
For a complete
"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 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."
"...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*****"
"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."
"A Masterpiece...."
"POWAQQATSI may be Glass' best work of the decade."
"A stunning tour-de-force...A powerful emotional experience."
"...Radiantly filmed images...Glass has composed his most startling and original score in years."
"[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."
"Reggio's films are visual works of art...like 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."
"***1/2 Fascinating and unique...a symphonic visual poem...[POWAQQATSI is ] utterly compelling. Reggio has done something truly remarkable..."
"[POWAQQATSI is...] a masterpiece in the art of cinema."
"A new form of musical theater...this work should not be missed."
"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."
"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."
"An act of veneration of one artist for another, educational, entertaining and the shape of things to come."
"A new form invented by Philip Glass, an "opera for Ensemble and film," completely unexpected and absolutely successful."
"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."
"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."
"[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."
"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"
"A Halloween treat...stunning"
"An exhilarating musical experience" |
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