 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I don't usually tend to think of individual Glass cues, but more works as a whole. But reading through this thread, I have to go back to Koyannisqatsi as the one with my greatest favorites. It was my fourth Glass album I think, but immediately became my favorite, as did the film. Vessels, Pruitt Igoe and The Grid are some of his more effective driving pieces from the time. But it is the quieter music I found most striking and memorable, and still do, even after everything else he has done. Clouds (which mixes 16th notes and whole notes in a way that makes speed static), Prophecies, and actually the main theme with the tremendous deep bass vocals - those are the cues that always stop me in my tracks.
And I'm with Shaun R. on Itaipu - if I had to pick a single favorite Philip Glass, it would be the first movement, Mato Grosso.
And thanks for talking up the new symphony - something else to anticipate.
|
|
|
|
|
|
Koyaanisqatsi: Slow People
Mishima: Runaway Horses,
EXCELLENT PICKS!!!!
BRUCE
|
|
|
|
|
|
, I have to go back to Koyannisqatsi ....., Prophecies, and actually the main theme with the tremendous deep bass vocals - those are the cues that always stop me in my tracks..
ANOTHER GREAT CHOICE!
|
|
|
|
|
|
|
|
|
|
Davies is quoted as saying, about the rewritten finale of the 11th, "...but it ripped the audience right out of their seats.” Just as I said earlier in the thread, that's exactly what happened. Everyone was just like, "Woo!" when it was over.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
