: minimalismo la musica nelle 12 parti come le divide philip glass e perdi percezione Philip Glass - Music in Twelve Parts - Disc 3 This is all twelve parts spanned over 3 videos, each video is one disc. Created by the wonderfully talented Philip Glass. Get the playlist here: youtube/playlist?list=... This composition consists of 5 musicians, 9 instruments and 1 female vocalist. When played, the piece will last roughly 3 and a half hours. It has often been called a merge of classical and modern electronic minimalistic music. This third disc includes parts 9 through 12. Part 9 - 0:00; Part 10 - 12:14; Part 11 - 29:23; Part 12 - 43:53. Music in Twelve Parts is a set of twelve pieces written between 1971 and 1974 by the composer Philip Glass. The eleven instruments in this work cycle are played by five musicians: three electric organs, two flutes, four saxophones (2 sopr, 1 alto, 1 tenor) and one female voice. Only the organ can be heard throughout; the other instruments are not playing simultaneously the whole time. Only one piece was originally written, called Music in Twelve Parts because it was originally intended to have twelve lines of counterpoint harmony, but when he played it to a friend, she asked him what the other eleven parts would be like. He found the misunderstanding interesting, and wrote another eleven parts over a period of three years. The entire set can be over three hours long when performed. In these works, Glass uses repetitive structures often associated with musical minimalism. Despite this, many of the works display a great deal of variety and invention. The music develops slowly, and there are long periods during which a casual listener would not notice any change. If one listens closely, however, this is seen to be an illusion, since patterns actually change form almost continuously, though nearly imperceptibly. The pieces are therefore challenging to the listener, but they have still enjoyed a significant level of popularity and are often cited as a major work of the second half of the 20th century. The works show a great emphasis on development and slow alteration, with different pieces utilizing different techniques for development. Andrew Porter for The New Yorker magazine (1978) wrote of the transitions from one track to the next: “ A new sound and a new chord suddenly break in, with an effect as if one wall of a room has suddenly disappeared, to reveal a completely new view. ” Rewiew by Nicholas Croft (5.0 out of 5 stars) A Music of Warmly Hypnotic Repetitive Structures The Philip Glass Ensemble was formed in 1968, because as Glass recalls, I needed to have a consistent group of musicians to develop a new technical way of playing. Music with Twelve Parts was completed between the years 1971 and 1974. The works compositional structure embodies all of the warmly hypnotic elements of Mr. Glasss new musical language. Indeed, early performances of the piece tested the ensemble players physical and psychological perseverance. This magisterial three-disc set was recorded over a period of four months, during the year 1993. Though there have been subtle changes in the personnel of Mr. Glasss ensemble over the years, there have now been close to twenty years of performance experience with the twelve individual sections of the work. Or as Glass puts it: Now we know the language and were fluent in it. An epochal three hour and twenty-six minute work, Music with Twelve Parts is intended to be heard in one sitting, without distractions of any kind. Indeed, preparing a time and place for such an intensive immersion, in this day and age, can be seen to be a type of rarefied art work, all on its own. In 1968, as Glass fondly recalls, it was easy to find people to listen to this music every Thursday night, because nobody had anything else to do anyway. In early days of 2004, however, listening to this ecstatic work, with its systematic augmentation and contraction of harmony, is Glasss way of making serious fun not only with other people, but with myself as well. Music with Twelve Parts is a compelling and original musical statement that will inspire earnest listeners for many years to come. Rewiew by DAC Crowell (5.0 out of 5 stars) A rigorous workout... Most people think of minimalism, and they think the shorter bits one finds on Glassworks. Uh-uh. This long-form cyclical work shows what the concept is _really_ about, as Glasss ensemble goes thru this multi-hour magnum opus. Very terse instrumentation here, as were back in the mid-70s for this work, when Glass was using winds and electric keyboards (such as Farfisa organs, etc) in addition to unadorned voices in his trance-inducing loft concerts in the NYC art scene. Describing what this sounds like is hard; its much easier to describe what listening to it will do to you. And what that is is that it induces a very trance-like state, as you get immersed in the seemingly-endless periodic structures. Most people call this music repetitive, but the fact is that there _is_ change going on, albeit exceedingly gradually. And the entertainment here is in the sonic equivalent of optical illusions that this early Glass music presents to the listener. Its like being trapped in a musical version of a 60s op-art moire pattern poster! And all that aside, its also one of the key works (along with Steve Reichs Music for 18 Musicians and Terry Rileys A Rainbow in Curved Air) from which the minimalism groundrules sprang. Important. Rewiew by Chris Speaks (5.0 out of 5 stars) A checklist before buying In order to approach Philip Glasss Music in Twelve Parts, I recommend the following prerequisites: 1.) Make sure that you have enough money to purchase this extraordinary piece of music. While the three discs which make up this piece of music may tend to be categorized as box set, in truth, this is no compilation of Philip Glasss greatest hits or rarities. Instead, what you receive is the singular, defining greatest hit of Glass repetoire. 2.) Set aside at least 3 hours and 26 minutes of your day to sit and listen to this piece of music uninterrupted as it will take at least that long to make it through all three discs. Music In Twelve Parts is a single piece of music, just like Mozarts Requiem or Prokofievs Romeo and Juliet, and while one is capable of listening to the individual parts out of sequence, doing so would ruin the intended effect of the piece of music as a whole. 3.) Listen with open ears and an open mind. One of the problems many people face when meeting Glass for the first time is that they are confronted in an ugly sort of way that Philip Glass does not sound like the traditional composers, like Beethoven, Debussy, or even Brahms, and he doesnt even sound atonal, like Boulez, Messiaen, or Schoenberg: many realize that Glass is in a category wholly removed from these composers, and they tend to not like it because they were expecting something else. I say this because not only was this my first perception of Glass, but its also the same sort of response I meet in others, such as friends or family, when introducing them to the work of Philip Glass. Glass early work, especially Music in Twelve Parts is riddled with arpeggios. Read more › Rewiew by C. Gardner (5.0 out of 5 stars) Kantian music/Form=Content This is music without melody, Glasss repertoire of techniques at its most spare--just rhythmic pattern (in his signature arpeggiated chord) and rudimentary, stable harmony in which the extension and contraction of time/rhythmic values is the only appreciable content of the pieces. This music can produce strange effects on a listener; one can almost sense ones own faculty of audition as being the true content. I liken it to a Gestalt switch, or the experience of seeing a wheel spin fast enough to produce the illusion of slow or even backwards motion. One realizes stimulation of the eyes is but half the experience; the other half is the intentional mind itself. Part One is a slow, meditative version of this idea; its an amazing sonic Persian rug of pulsing, interlocked patterns, and perhaps the most beautiful piece he ever wrote. One can pick out between the instruments a melody of whatever length one wishes, creating the music for themselves. Glasss and Tim Pages liner notes are illuminating as well. Biography by Robert Cummings (ALLMUSIC) Philip Glass is recognized as one of the most prominent composers associated with musical minimalism, the other major figures being Steve Reich, Terry Riley, and John Adams. His style is easily recognizable because of its use of repetition, particularly the repetition of small distinctive rhythmic and melodic cells, and its reliance on traditional diatonic harmonies. In some of his early works, like Two Pages (1967), the whole of the piece evolves from a single unit that expands as notes are added. In later works, such as the massive Music in Twelve Parts (1971-1974), expansion comes by lengthening of note values and other inventive processes. Many describe his music in the minimalist vein as mesmerizing; others hear it as numbingly repetitive and devoid of variety in its simplicity. The latter view of his style is itself simplistic and fails to take into account the subtleties and complexities found in the many ways Glass varies and shapes his material. His later styles, since the 1980s, embrace more than just minimalism and include a broad neo-Romanticism, with greater emphasis on melody and more complex harmonies. Glass is one of the most popular and succesful classical composers of the late 20th and early 21st centuries, with a broad fan base that includes both rock and classical enthusiasts. Glass showed early musical talent both on violin and flute. He graduated from the University of Chicago at the age of 19. He enrolled at Juilliard, and had by then rejected serial techniques in favor of more conventional styles, favoring the music of Ives, Copland, and Virgil Thomson. Over the next four years he studied with Persichetti, Milhaud, and Bergsma. He then studied with Nadia Boulanger in Paris, and it was during this two-year period that he met and worked with sitar player Ravi Shankar, who introduced him to Indian music. He was intrigued by its sound and structure and attracted to Asian and Middle Eastern cultures. Eventually, he converted to Tibetan Buddhism. Glass has spoken of how greatly his 1966 visit to India influenced his thinking, both musically and spiritually. After returning to New York in 1967, Glass struggled financially and worked as a cab driver and plumber while he developed his music. He established the Philip Glass Ensemble in the early 70s. This group consisted of seven players including keyboards, woodwinds, and amplified vocals, and eventually became immensely popular both with fans of rock and the Downtown classical scene. Glass has worked collaboratively with a number of artists, including theatre director Robert Wilson, poet Allen Ginsburg, choreographer Twyla Tharp, and filmmaker Godfrey Reggio. Glass monumental opera Einstein on the Beach, a collaboration with Wilson, was staged in 1976 and was his first large-scale triumph, culminating with performances at the Metropolitan Opera House. It has been described as “one of the truly pivotal artworks of our time,” “among the most significant theatrical achievements of the entire post-World War II period.” It was the first of an important trilogy of biographical operas, the other two being Satygraha (based on Gandhis struggles in South Africa, 1980) and Akhnaten (based on the 14th century BCE Egyptian pharaoh who introduced monotheism, 1983). Other operas include Orphée and La Belle et la Bête (both based on films by Jean Cocteau), The Voyage (commissioned by the Metropolitan Opera for the 1992 anniversary of Columbus voyage), The Fall of the House of Usher, In the Penal Colony, and Kepler. Since the early 1980s, he has devoted considerable energy to film scores, which have brought his work to even larger audiences, and have been recognized with numerous prestigious nominations and awards. Among his most notable are Koyaanisqatsi and its sequels Powaqquatsi and Naqoyqatsi (written in close collaboration with Reggio), Kundun, The Hours, and Notes on a Scandal. Glass has also written in traditional Western classical forms, including nine symphonies, five string quartets, two violin concertos, and two piano concertos.
Posted on: Sun, 27 Oct 2013 22:28:00 +0000
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