Orange Mountain Music and Philip Glass are proud to announce the availability of the Orange Mountain Music catalogue exclusively on Apple Music. Philip Glass is perhaps the most recognized composer of serious music living today, having had a profound impact on the musical world of his time.
Launched in 2001, Orange Mountain Music has sought to serve “fans and aficionados” of Philip Glass's music. In the process of creating over 100 Glass albums, as well as releasing music by his close collaborators, OMM has touched upon every aspect of Glass’s compositional output including music for film, opera, dance, symphonies, chamber music, experimental music, and world music. Beginning August 19, Orange Mountain Music will release its catalogue of all of Glass’s orchestral works, string quartets, piano music, many of his film scores and unique collaborations exclusively through Apple Music and iTunes.
Unique to this launch, Apple Music will feature a number of new playlists specifically curated by Glass himself including “Glass Essentials,” “Glass Influences,” featuring music that influenced and continues to inspire the composer, “Glass on Glass,” a hand-selected playlist of some of the composer’s favorite titles from his extensive catalogue, “New Glass,” a playlist of the latest new music and new recordings only digitally available on Apple Music and iTunes (Mastered for iTunes), and a number of new Philip Glass playlists developed by Apple’s team of curators.
On his new relationship with Apple Music, Glass said:
“I couldn’t be happier about this new relationship with Apple Music and its curators. Apple is a forward-looking company, culture, and advocate for creativity, and I’m proud to have Orange Mountain Music start a new collaboration with Apple Music. As a premium music service, Apple Music ushers in a very exciting new way for artists and composers to reach listeners as never before.”
Featured titles in the OMM catalogue are Glass masterworks including “Einstein on the Beach,” “Koyaanisqatsi,” ”Music in 12 Parts,” “The Hours,”“Glassworks,” two remix albums including “Rework” as well as the Complete Piano Etudes, The Concerto Project, The Symphonies and much more. Performers and collaborators in the OMM catalogue include a variety of artists from all fields of creativity: from Allen Ginsberg and Leonard Cohen and Beck and Tyondai Braxton, to conductors such as Gustavo Dudamel, Marin Alsop, and Dennis Russell Davies, to a wide selection of film scores from art-house films for directors like Woody Allen and Godfrey Reggio (Visitors, Koyaanisqatsi, Anima Mundi) to documentaries by Oscar-winning director Errol Morris (The Thin Blue Line, Fog of War, A Brief History of Time) and major Hollywood films such as “The Illusionist;” world music collaborations with Ravi Shankar, Foday Musa Suso, Wu Man, Uakti, Mark Atkins; major symphony orchestras like the London Philharmonic, Bruckner Orchester Linz, Sinfonieorchester Basel, New York Philharmonic, Los Angeles Philharmonic, Cincinnati Symphony Orchestra; work with directors and writers from Robert Wilson to Christopher Hampton; operatic subjects from The Brothers Grimm and Kafka to Jean Cocteau and Walt Disney; a slate of fantastic soloists from all genres of music including Maki Namekawa, Kronos Quartet, Katia & Marielle Labèque, Julian Lloyd Webber, Tim Fain, Robert McDuffie, Matt Haimovitz as part of the complete recordings of Glass’s symphonies and concertos, as well as the entire recorded catalogue of the Philip Glass Ensemble.
Philip Glass on Apple Music - AppleMusic.com/PhilipGlass
Philip Glass on iTunes - iTunes.com/PhilipGlass
Apple Music Playlists
Glass on Glass - http://apple.co/GlassonGlass
Philip Glass Essentials - http://apple.co/PhilipGlass
Philip Glass Influences - http://apple.co/PGinfluences
New Glass - http://apple.co/NewGlassPlaylist
APPLE CURATED PLAYLISTS:
Glass on Glass
The composer traces his musical autobiography with this handpicked playlist.
Whittling down a career as deep and ambitious as Philip Glass’s is a virtually impossible task—unless you’re the composer himself. In this handpicked playlist, Glass traces his musical autobiography with a playlist of pieces that hold particular significance to him. Points of interest include his first minimalist masterpieces and a violin concerto dedicated to his father, along with many of the countless collaborations that have served as the backbone of his creative evolution.
His latest works venture into fresh corners of the musical ecosystem.
Even after decades of musical exploration, Philip Glass’s latest works continue to venture into fresh corners of the musical ecosystem. On this playlist, the composer handpicks from his most recent releases. Whether pursuing adaptions of classical masterworks, or engaging traditions as diverse as indigenous music and Hollywood film scores, Glass’s mind remains a wellspring of curiosity.
Philip Glass: Influences
The music that fuels the hungry imagination of a modern master.
In this playlist, Philip Glass reveals the works that have nourished his endlessly hungry imagination. While Bach shaped Glass’s architectural conception of music, Ravi Shankar helped him unlock the rhythmic possibilities of composition. Whether through the modern jazz innovations of the ‘60s or the visceral rock performances of the ‘70s, Glass has always channeled into his works the mighty musical currents of New York City. His wide-ranging favorites reveal an undiminished taste for all things offbeat and extraordinary.
Philip Glass: Essentials
Minimalist only begins to describe the ever-changing music of one of America's most productive and influential composers. With a foundation in Bach and Mozart, the onetime New York taxi driver was inspired by the rhythms of India to concoct complex, repetitive structures containing myriad harmonic inversions. Landmark works such as "Music in 12 Parts" and "Einstein on the Beach"—as well as innumerable symphonies, concertos, and works for his own group—have made Philip Glass a prolific and omnipresent figure in New York culture.
"What’s remarkable about the performances by the Cluster Ensemble is that they never seem at all didactic, but are wonderfully natural and constantly involving musically"
Full review here
Of particular interest this week is that Philip Glass will be performing on a three-piano concert with Dennis Russell Davies and Maki Namekawa in Linz Austria. The suite from "Les Enfants Terribles" was drawn from the opera that Glass originally composed for three pianos and that later Davies and Namekawa adapted as a concert piece for two pianos. The piece is being restored to its full glory and paired with Glass performing his solo piano Mad Rush, Davies and Namekawa performing Glass's Four Movements for Two Pianos, and the grand suite from Les Enfants Terribles for three pianos.
During the original tour of Les Enfants Terribles in the mid-1990s as a "dance opera" choreographed by Susan Marshall, Glass in fact played piano on the live tour and on the OMM produced recording. However, it's been two decades since audiences have had a chance to hear the composer perform this piece. Around this concert is a heightened environment.
Over the past 15 years the general music director in Linz has been Dennis Russell Davies. The opera house in Linz has performed four Glass operas over the years and recorded three of them. The most recent was The Lost which opened the new opera house, the stunning Musiktheater am Volksgarten. Davies commissioned the first six piano etudes, Namekawa became the first pianist to record both books of Etudes, and the orchestra has an expansive Glass repertoire including performing, recording, premiering a vast lot of Glass compositions.
Concert with Philip Glass, Dennis Russell Davies and Maki Namekawa
Venue Great Hall Music Theatre
Duration 01 hrs. 30 min.
There is much buzz around the performance of Philip Glass's Heroes Symphony (from the music of Bowie & Eno) at Glastonbury, the world largest music festival, on June 25th in a midnight performance on the Park Stage as a tribute to the late/great David Bowie. The performance will be performed by Army of Generals and members of the British Paraorchestra conducted by Charles Hazelwood.
In reviewing the performance history of Heroes Symphony it's understandable that there would be a such a spike in interest in the piece after Bowie's death. Composed in 1996, Heroes Symphony received its New York premiere only in 2011 when the Wordless Music Orchestra performed it under Brad Lubman. Only weeks after Bowie's passing, conductor Evan Ziporyn conducted both Heroes and Low Symphonies in a memorial concert at MIT in Cambridge which was captured live by Q2. It was a cathartic experience: both the audience and musicians had all been clearly touched by the life and music of David Bowie and it was a way that people who, for lack of a better term, work in the world of notated music, could pay homage to this great 20th Century genius.
From Express: "
Glass, the composer, was greatly admired by Bowie and saw him as a big influence on his work.
Glass said: “When Charles told me of his plan to take my ‘Heroes Symphony’ to Glastonbury, I was delighted.
“It's very exciting to think of it playing - at the midnight hour - out across the parkland, a true celebration of Bowie.
“I am so very pleased members of the British Paraorchestra and Chris Levine's epic light performance will be part of it.
“What a spectacular collaboration. This is sound and vision Bowie-style.”
So after many years of relative obscurity Heroes Symphony seems to taking root in the concert hall with already 6 performances in 2016 as a way that the classical music world can remember Bowie's music and enjoy the variety and invention of what Glass internalized and constructed from it. Below are my notes on the piece from the recent Glass Symphony Box collection:
Symphony No. 4
from the music of David Bowie and Brian Eno
Philip Glass commented on the creation of his Fourth Symphony in 1996 in preparation for the recording of the work, which was to be used for Twyla Tharp’s ballet “Heroes”:
“Heroes, like the Low Symphony of several years ago, is based on the work of Bowie and Eno. In a series of innovative recordings made in the late 70’s, David and Brian combined influences from world music, experimental avant-garde, and rock and roll and thereby redefined the future of popular music.
Almost twenty years later, I have gone back to their original material, using it as a point of departure and inspiration, much as composers of the past have based their work on their contemporaries. Using themes from Heroes I have made a new composition which hopefully will reintroduce this music to today’s listeners.
I mentioned the new work I was doing to Twyla Tharp, the American choreographer with whom I had worked on In the Upper Room, a dance work for her company. She suggested I think of Heroes as a ballet score for her new dance company. We suggested this to David, who immediately shared Twyla’s enthusiasm for the Idea. Accordingly, I set Heroes as a six- movement work, each movement based on a theme from Heroes, with an overall dramatic structure that would be suitable for dance. The result is a symphonic ballet - a transformation of the original themes combined with new material of my own and presented in a new dramatic form.
The continuing influence of these works has secured their stature as part of the new “classics” of our time. Just as composers of the past have turned to music of their time to fashion new works, the work of Bowie and Eno became an inspiration and point of departure of symphonies of my own.”
By the time Glass had written his Fourth Symphony, the symphonies of Philip Glass contained some of the composer’s best music. It was music that stood apart from all his other work. These pieces had their own musical agenda. By this time, when one considers the complete catalogue of the composer, it’s not easy to embrace the composer’s assertion that he is simply a “theater composer.” With the tentative step toward the form of the symphony with his first “Bowie-Eno” inspired orchestral work in 1992, Glass seemed fully confident with the huge undertaking when writing his essay in polytonality, Symphony No. 2, in 1994.
By that point that Glass had been making up for lost time. Low Symphony was a tentative step into the vast ocean of symphonic literature. Symphony No. 2 was a great full dive into
that ocean. Rather than succumbing to the weight of historical baggage, by the time of Glass’s Third Symphony in 1995, Glass had wholeheartedly embraced the idea of writing symphonies. As we have discussed, Glass’s Third Symphony was very much a nod to tradition: not only with the nod to Richard Strauss and Bartok, but also as a celebration of the strong American practice of writing string symphonies. After not writing a symphony from ages zero to fifty-five, Glass composed four major symphonies in 1992, ’94, ’95, and ’96.
Such “clusters” of activity within certain genres can be seen in Glass’s work. Usually within such clusters there is a wide variety. At the end of what Glass considers his Minimalist period in 1976 with Einstein on the Beach, Glass received a commission from the Netherlands Opera to “write a real opera.” Glass describes the premiere of that new opera, Satyagraha, as a complete let-down to the audience as there was a great expectation that he would create a fitting sequel, something very similar to Einstein on the Beach. Glass had no interest in repeating himself. Basic artistic need for variety exists in Glass’s symphonic output as well.
Unlike Glass’ first three symphonies, Symphony No. 4 “Heroes” or Heroes Symphony of 1996 was not premiered traditionally as a symphony. If we step back a couple decades into his career, we see that Glass the composer is attracted to the concept of the trilogy. The big statement of his early career was his ‘Portrait Trilogy’ (the operas Einstein on the Beach, Satyagraha, and Akhnaten.) When opportunities started to open up for the composer in the early 1990’s, Glass embarked on two new triptychs: that of a series of operas based on the work of Jean Cocteau and a set of symphonies based on the music from the David Bowie albums made in collaboration with Brian Eno. These three symphonic works take inspiration from the three albums Low (1977), Heroes (1977), and Lodger (1979). Glass embraced the source material very much in the tradition of classical composers using folk music sources of famous themes by past composers. In this case, for Glass it provided an attractive opportunity: to take what he considered wonderful melodies – and to combine them with his own music in realizing a bigger whole. In Low Symphony, this was manifest in three large-scale movements. In composing Heroes Symphony, Glass had already decided that this piece would also be his “Dance Symphony” set to choreography by Twyla Tharp, a gifted collaborator with whom he had already had a long relationship dating back to their hit ballet in In the Upper Room some ten years earlier.
The symphony is scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, bass clarinet, 2 bassoons, 3 horns, 3 trumpets, 2 trombones, bass trombone, tuba, percussion, harp, piano, celesta strings. Unlike Low Symphony in which Glass committed to long-form writing, his Fourth Symphony is in six shorter movements: 1. Heroes, 2. Abdulmajid, 3. Sense of Doubt, 4. Sons of the Silent Age, 5. Neuköln and 6. V2 Schneider. The piece gives symphonic dimension to the Bowie/Eno works but in a much personalized way than in Low Symphony and often with much more subtle use of the source material. From Low, Glass took elaborate instrumental phrases and expanded, re-harmonized, and elaborated them in an organic symphonic process.
In Heroes Symphony, Glass again re-harmonizes the Bowie/Eno pieces, but this time he uses the material differently and in a much more condensed way. Rather than wholesale elements being appropriated, Glass seems to take smaller edits of original melodic phrases or sometimes just gestures as a point of departure. In Heroes Symphony, Glass’s predilection tends to deal more with representing the material in his own language, including embedding more of his own rhythmic ideas as one can hear in the pulsing opening movement Heroes. In Sense of Doubt, Glass uses the main descending Bowie figure, but in the remaining seven minutes of the movement it’s all Glass original material. In Sons of a Silent Age Glass takes the glorious main melody from the rock song and builds his own music around it showcasing it in a whole new light. In V2 Schneider, the symphony’s rousing finale, Glass extracts the sense of harmonic cadence (not literal extraction, again re- harmonizing it). In other words, it’s generally easier to identify the original Bowie/Eno material in Low Symphony than it is in Heroes Symphony, a sentiment that Bowie himself agreed with. In all, Heroes seems to be more of an internalization by the composer of the source material than in the First Symphony.
The Twyla Tharp Company toured the ballet Heroes in 1996 performing it 28 times that season and again 58 times in 1997. The where-and-when of the premiere of the piece as a concert work is presently unknown. The Heroes Symphony was recorded for Point Music in 1996. At that time, right before the recording at the Masonic Temple in Mid-Town Manhattan the American Composers Orchestra, Davies, Bowie, Glass and others all came together to hear a rehearsal before the team, as with Low Symphony, went into the studio for the sectional recording process. But the piece did not receive a premiere at that time.
The Fourth Symphony has had an interesting life since. As a symphonic work the piece has also been recorded by Marin Alsop and the Bournemouth Symphony Orchestra. The Symphony has been performed as Symphony No. 4 “Heroes” many times in Germany and Austria (usually championed by conductor Dennis Russell Davies), Norway, Scotland, Russia, Holland, Italy, and the United States. Around the time of a performance of the work by the Wordless Music Orchestra at the Society for Ethical Culture in New York City in May 2011, a previous public New York performance could not be found. Essentially the New York public had to wait more than 15 years to hear Glass’s Fourth Symphony performed live in concert. The whole process from the conception of the piece as another studio album, a recording used then for the dance performances, to overlooking a proper New York premiere suggests that the whole project was ad hoc. The conductor of the New York performances in 2011, Brad Lubman, was shocked to find out that the conductor’s score itself was just a photocopy of the Glass manuscript – the piece had never been copied or engraved. Recently, both the Low Symphony and Heroes Symphony were recently performed in January 2016 at the Massachusetts Institute of Technology under the baton of Evan Ziporyn, just weeks after the passing of David Bowie as a memorial to that great artist.
The new recording featured in this set is by the Basel Sinfonieorchester under the direction of its Music Director Dennis Russell Davies. As with the new recording of Low Symphony, this is a stunning achievement. In 2009, Davies conducted Heroes Symphony in the heart of the city of Linz Austria an audience of 6,000 listeners. Since 2009, upon starting his Music
Directorship with the magnificent Basel Sinfonieorchester, Davies thought back to these two Glass symphonies from the 1990’s (without cuts that were made for the recording – the first movement is a full four minutes longer than the first recording) with an intention to present these symphonies as they were meant to be heard – unencumbered and able to breathe freely. The result that Davies draws from the orchestra is remarkable.