***REPOST: Psychelatte's Glass Freakout feat. Philip Glass works (Amended - extra folder enclosed!!)***

So..here is my offering of a Philip Glass compilation for the unitiated. I've included stuff that shows his wacky style as well as his gentler side. But mostly it's pretty hectic, rushing, vibrant stuff.
I havent included anything overtly operatic or anything too long and repetitive, so as not to alienate potential converts!
There's quite a lot of singing, but its mostly la la la's and pah pah pahs!! I think the pieces I've chosen are pretty accessible and not too challenging, yet still will hopefully take you to heady heights of supreme ecstasy and awe..(hmmm...!) Its not exhaustive by any means, but reasonably definitive, i believe.

Its just over 1 and a half hours. Hope you Enjoy!

**** UPDATE: I was peed off that my audio extraction from
"Geometry of Circles" played ok on my phone, but not on my mp3 player after i had already uploaded the files. I couldn't bear to miss it off, so everything is all re-done.
For those who want the audio, i have uploaded an extra folder with it contained therein, which also includes the above 2 videos..(obviously previous downloaders need only download the first folder).

Folder 1:

Geometry of Circles mp3 audio (should be ok now!!)
Geometry of Circles mp4 video
Channels & Winds with Japanese Hiroshima anime video, mp4
Channels & Winds, " " " " flv



Folder 2:

01b Act 1 A Gentleman's Honor (The Photographer)

02 Freezing (Songs From Liquid Days)

03 Channels & Winds (Passages - with Ravi Shankar)*

04 Act II Tagore Scene I Confrontation & Rescue (Satyagraha)

05 Face to Razor (The Candyman)*

06 Screens of Memory (1000 Airplanes on the Roof)

07 Pruit Igoe (Koyaanisqatsi)*

08 Video Dream (Powaqqatsi)*

09 Knee 3 (Einstein on the Beach)*

10 Dance VII (Glassworks)

11 The Encounter (1000 Airplanes on the Roof)

12 New Cities in Ancient Lands ( Powaqqatsi)*

13 Cocktail Party (Persephone - Orchestral Music - Archive II)

14 Act III Scene II Attack & Fall (Akhnaten)

15 Open the Kingdom (Songs from Liquid Days)

16 Dance IX (Glassworks)


*= album on this blog!

Part 1
Part 2

***Philip Glass - Einstein on the Beach (1979) freaking nuts choral piece!!***

This is a bizarre and relentless
opera-as the surreal title implies, more dream than drama. The first train episode, over 20 minutes long, remains mind-blowing in its relentlessness. The impact is heightened by the vividness of the recording, with spoken voices in particular given such presence that they startled me as if someone had burst into the room. The vision remains an odd one, but with a formidable group of vocalists and instrumentalists brilliantly directed, often from the keyboard, by Michael Riesman, the recording certainly justifies itself. An opera in 4 parts for ensemble chorus soloists. The so called knee play of this much spoken about opera serves as a recurring motive throughout the piece reaching its emotional apex in the second half of knee play 5 with its lovely violin piece and transcendent poetry embellishing all that is true in the human heart.

***Psychelatte says: SO SORRY, I GAVE YOU WRONG LINK BEFORE, ONLY SMALL PART! Here is all of the whole mad thing!!

MENTAL !!

***Philip Glass - The Quatsi Trilogy - from unmissable & legendary 'image' time-lapse documentary films***

When Godfrey Reggio and Philip Glass released in the 1982 movie about the technology and the silent mutation of the landscape, they hardly knew 'Koyaanisqatsi' and its two sequels, "Powaqqatsi" and "Naqoyqatsi" would become a cultural landmark. The film titles are Hopi language words, where the word 'qatsi' means life. The Hopi language belongs to the Uto-Azteca and is spoken by the Hopi, an Indian nation that lives in the U.S. northwestern state of Arizona. 'The qatsi Trilogy' is the informal name given to films directed by Godfrey Reggio, with soundtrack by Philip Glass and Francis Ford Coppola executive producing. All the films consist of images of nature and images of man and his creations, all stimulated by the minimalist music of Philip Glass. The films are structured on a tripod: the conceptual chain, the heavy load of images and the rhythm of music. It is difficult to judge each film, as they are not movies in the conventional sense. It is an experience of sounds and images to evoke feelings harmonized. Their role is to provoke, to raise questions. The first covers primarily the northern hemisphere, the second and the South Asian countries, and the third deals with the planet as a whole. Godfrey Reggio is often able to find poetry in even disturbing images, enhanced by the haunting music of Philip Glass.

Philip Glass is a North American composer, born in Baltimore, and is one of the most influential songwriters of the late twentieth century. His music is renowned for minimalist, though he did not appreciate this expression. The term Minimalism was used to refer to the musical production that has the following characteristics: repetition of small portions over vast periods of time and almost hypnotic rhythms. It is often associated with and inseparable from electronic music, psychedelic music or even punk rock. Philip Glass has produced operas, symphonies, concertos and soundtracks. Tibetian and advocates. 'Satyagraha' is an opera based on the life of Mahatma Gandhi which includes several mantras. The soundtrack of 'Koyaanisqatsi' is among the most influential. In addition to symphonic works, Glass also has strong connections with rock and electronic music. Several artists were influenced by his work and received among the influences that is the music of Ravi Shankar that changed your perception of Indian music.

"Koyaanisqatsi: Life Out of Balance "


was released in 1983. It is the first and best known of the trilogy. It's an apocalyptic vision of the collision between two distinct worlds: urban life and technology versus the environment. We are shown scenes of natural and urban landscapes, many with the speed changed. Some scenes are slow and some more rapid than normal, like everyday modern life increasingly faster due to technological innovations. Images of the time with majestic minimalist music. The title comes from the Hopi language and means "life out of balance '. The meaning is revealed at the end of the documentary are also sung when three prophecies of the Hopi people in their own language, translated, of course. It was a movie with no story, no dialogue and no narrative structure of any kind. There was little debate about the importance of 'Koyaanisqatsi' as a warning to humanity. Instead, there was only the cult of beauty of the images at high speed that have become cliches used in other films and television programs. Some see it as a film strongly pro-environment, while others say it is more spiritual. Others conclude that it celebrates the beauty and power of the things that man has with nature. To me it is painful proof of how humanity's greatest successes have led us to major flaws too, and maybe in the end, we will have created something totally contrary to life than Earth originally gave us.

Tracklist:
01. Koyaanisqatsi
02. Organic
03. Cloudscape
04. Resource
05. Vessels
06. Pruit Igoe
07 Prophecies

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'Powaqqatsi: Life in Transformation'

was released in 1988 and as in other movies, there are narratives or dialogues. Also at the end is revealed the meaning of the name Powaqqatsi: Life in transformation. Using the deceleration of the images 'Powaqqatsi' denounces violence against nature. It follows an entirely different concept of 'Koyaanisqatsi', which focuses on inanimate structures built by mankind. This is a film about people and lifestyles in the developing world. Godfrey Reggio chose not to use visual techniques and high-speed photography and contented himself with a more discreet approach. Although the film can not match the impact of images of 'Koyaanisqatsi', considered the best by the opinion of the public and critics 'Powaqqatsi' theme has greater depth, it makes the public and critics think. The film is the better film portrait of the effects of modernity upon the natives of the Third World, emerging cultures of Asia, India, Africa, Middle East and South America, partly filmed in Brazil, who still live in the same way they did hundreds of years ago and how they express themselves through work and traditions. The scenes of people working, carrying baskets on their heads, show the enormous effort required to make these people an industrial revolution and in a very short period of time. The images show the tremendous work and sacrifice necessary to build a modern society. The structure of the film is the same as that of 'Koyaanisqatsi': early life, industrial life, and finally to modern existence. 'Powaqqatsi' conveys a humanist philosophy about the earth. The advancement of technology on nature and ancient cultures, and splendor as a result. The film focuses on the modern way of life and the concept of Global Village. 'Koyaanisqatsi' is the imbalance between nature and modern society, 'Powaqqatsi' is a celebration. To Godfrey Reggio is an analysis of how life is changing in a fascinating mixture of different backgrounds. It is a record of diversity and transformation. Cultures dying and prospering. With music by Philip Glass, the traditional instruments and electronics fused with tribal rhythms on a single theme.

Tracklist:

01. Serra Pelada
02. The Title
03. Anthem-Part 1
04. That Place
05. Anthem-Part 2
06. Mosque And Temple
07. Anthem-Part 3
08. Train To Sao Paulo
09. Video Dream
10. New Cities In Ancient Lands, China
11. New Cities In Ancient Lands, Africa
12. New Cities In Ancient Lands, India
13. The unutterable
14. Caught!
15. Mr. Suso # 1
16. From Egypt
17. Mr. Suso # 2 With Reflection
18 Powaqqatsi

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'Naqoyqatsi: Life as War'

ends the trilogy by Godfrey Reggio and Philip Glass, with excerpts performed by Yo-Yo Ma, French cellist of Chinese origin. Fifteen years later, in 2002, Godfrey Reggio and Philip Glass come back to the post-industrial society, marked by scientific advances and globalization of information. Of the three films, this is the most pessimistic. The film begins with the painting 'Tower of Babel, by Pieter Brueghel the Elder. Tower built by mankind to reach for the sky at a time when the world spoke the same language with the same words. God did not like the project and confounded the language of all. The tower, allegorically explains the origin of many languages spoken in the world. The film ends with a man lost in space quoting '2001: A Space Odyssey 'of Kubrick. The film is structured by humans, the Earth, space and violence. Political leaders like Bush Jr., Lincoln and Arafat are present. Bin Laden appears briefly, walking among followers. 'Naqoyqatsi' shows the grandeur of the world connected, globalized world, immersed in technology that shortens distances and speeds up procedures for destruction because of their misuse. Unlike the other two films, we used films and digitally manipulated images, mixed with scenes produced by computer graphics. It is a succession of images, some from nature such as clouds and ocean waves, other human as buildings and bridges, and others are computer-generated fantasies. Thus, Godfrey Reggio also demonstrates that the presence of technology is essential and prevalent in film production. 'Naqoyqatsi' does reflect on our relationship with nature, the influence of technology in our lives and new unhealthy ways of relating to people because of the ease of connectivity technology. Humanity does not use technology as a tool, but the technology lives as a way of life. It is a necessity, we can not live without it. At the end of the film we are told that 'Naqoyqatsi' is a word that essentially means, war and violence. But Godfrey Reggio does not include pictures of mushroom clouds, street riots, violent video games. Godfrey Reggio examines a world where nature has been largely eclipsed by the computer. A chaotic world, which often have no time to stop and really look at all the beautiful things that go unnoticed. 'Naqoyqatsi' is the clash between nature and technology. 'Naqoyqatsi' takes us on an epic journey where the real gives way to an amazing virtual tide of digital imagery and music.

Tracklist:

01. Naqoyqatsi
02. Primacy of Number
03.Mass Man
04. New World
05. Religion
06. Media Weather
07. Old World
08. Intensive Time
09. Point Blank
10. Vivid Unknown
11. Definition
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*** Philip Glass -The Music of Candyman -UNMISSABLE GOTHIC, MESMERIC, SPOOKY ORGAN & CHOIR MASTERPIECE! ***

Amazon.co.uk Review

Philip Glass has never been what you'd call a prolific composer for film, but when the horror genre called, he answered immediately and in style. Although behind-the-scenes politics turned the first Candyman into something of a stalk-'n'-slash flick, the music does wonders for its faux mythological premise. The delicate "Music Box" motif which is in fact "Helen's Theme", is the central pivot of what is a cyclic tale of destiny. Revolving around upon itself, it perfectly characterises a legend foretold. Almost every other cue is dominated by chorus, who in chanting repetitively add weight to the sense of inescapable doom. Several other motifs swim around, such as the gorgeous "Floating Candyman", and then they're given resolution in "It Was Always You, Helen". It doesn't end there however, since the album then seamlessly blends into the few additional cues Glass was talked into providing for the inevitable sequel. Apart from some bold use of church organ, the best cue is "All Falls Apart" with its sit-up-and-take-notice beeping effect. Ending on a remix of "Helen's Theme", this is an extremely well-conceptualised album. Just don't look at the disc and say the name aloud five times... --Paul Tonks

Customer review: (1 of 4 x 5 star ratings)

The Music of Candyman is a welcome release from the Glass back catalogue and is an example of one of the finest musical scores of the las 20 years. The film Candyman has a cult following and is a highly regarded work of filmic horror, much of this being down to the superb Glass score. Haunting piano melodies, ghostly choirs and some very gothic organs combine to create an intense sound once heard, never forgotten. This music has not been available previously and I would thoroughly recommend that you buy this, just don't listen alone!

01. Music Box
02. Cabrini Green
03. Helen's Theme
04. Face to Razor
05. Floating Candyman
06. Return to Cabrini
07. It Was Always You, Helen 08. Daniel's Flashback
09. The Slave Quarters
10. Annie's Theme
11. All Falls Apart
12. The Demise of Candyman 13. Reverend's Walk

here

***Philip Glass with the Kronos Quartet- Dracula Soundtrack - Completely manic & strung out stuff! RECOMMENDED!!***

Amazon.com

It's no surprise that some of Philip Glass's most inspiring projects have been multimedia. The composer's minimalist tendencies lend themselves to the accompaniment of vast landscapes, silent films, and--now--Tod Browning's 1931 horror classic, Dracula. With longstanding collaborators the Kronos Quartet performing the score, Glass has created a soundtrack that moves with rapid-fire momentum and a timeless chamber-music feel. Dracula never sounds sinister or ironic, just ominous--the perfect companion to a film with plenty of dialogue but no pre-existing score. So what if we've already heard Glass's stylistic trademarks--striking arpeggios, repeated motifs, and the like--on any number of albums (for example, the Kronos/Glass soundtrack to Mishima or Uakti's 1999 release, Aguas de Amazonia)? Unlike the epic three and a half hours of Music in Twelve Parts, this enjoyable disc takes just over an hour and it's well worth hearing. In the new video release of Dracula, accompanied by Glass's score, you'll never see Bela Lugosi's mug the same way again. --Jason Verlinde

Tracklist:

01. (1:15) Dracula
02. (0:43) Journey to the Inn 03. (3:24) The Inn
04. (1:17) The Crypt
05. (2:13) Carriage Without a Driver
06. (3:12) The Castle
07. (1:08) The Drawing Room 08. (2:48) "Excellent, Mr. Renfield"
09. (1:30) The Three Consorts of Dracula
10. (1:34) The Storm
11. (1:22) Horrible Tragedy
12. (1:17) London Fog
13. (2:50) In the Theatre
14. (2:23) Lucy's Bitten
15. (2:57) Seward Sanatorium 16. (2:56) Renfield
17. (1:31) In His Cell
18. (2:09) When the Dream Comes
19. (4:01) Dracula Enters
20. (4:40) Or a Wolf
21. (3:12) Women in White
22. (3:26) Renfield in the Drawing Room
23. (2:22) Dr. Van Helsing and Dracula
24. (4:41) Mina on the Terrace 25. (3:52) Mina's Bedroom / The Abbey
26. (4:06) The End of Dracula

here

***Philip Glass & Ravi Shankar -Passages (1989?) -Awesomely beautiful, joyous modern classical East/West collaberation! HIGHLY RECOMMENDED!***

Ravi Shankar and Philip Glass met in Paris in 1965, when Glass was a young aspiring composer and Shankar was confirminghis place in the world's classical canon. Shankar acted as an informal mentor to Glass, and their interaction inspired Glass to consider the possibilities of rhythm. By the time they joined forces at a New York City studio, in 1989, the two occupied a more level playing field. PASSAGES differs from previous collaborations that Shankar had undertaken withWestern musicians such as Yehudi Mehuhin, Jean-Pierre Rampal, and George Harrison. On four of the six pieces, the two don't improvise together so much as refine each other's material, while on the remaining tracks, each composer is entirely responsible for the final composition. Shankar's lush orchestrations are most evident on "Prashanti" and the graceful "Ragas in Minor Scale", while Glass's repetitions manifest most hauntingly on "Channels and Winds". But on the finest tracks, "Offering" and "Meeting Along the Edge", their individual talents are subsumed into the collective experience.

Tracklist:

1. Offering
2. Sadhanipa
3. Channels And Winds (psychelatte: omg, this is MESMERIZINGLY beautiful!!!)
4. Ragas In Minor Scale
5. Meetings Along The Edge
6. Prashanti

Amazon uk reviews:

1)East meets West

I had some ideas of what this would sound like before I heard it, but when I heard it I realised I was completely wrong! I thought that it would be typical Philip Glass with some sitar and Indian scales and sounds. It is nothing of the sort. Each track is not so much a collaboration as a joining of distinct parts. You can hear which parts are Glass and which parts are Shankar, but the glue that holds them together is the compositional genius of the two men. It does not just encompass India either, as there are Middle-Eastern motifs and scales used here, and some very Western orchestral parts. It is very light on the sitar, and Ravi Shankar probably has more input vocally than with his sitar playing. This is orchestral music without using a conventional orchestra from the West. It is Indian music without being limited to the traditional Indian instruments and arrangements. It is World Music at its best!

2) Journey to the East...and back!

This album at first glance brings together two of the most unlikely composers one could think of in a collaboration that crosses huge cultural differences but works exceptionally well. Ravi Shankar, whose music has been known in the West for many years , is known for his work with Yehudi Menuhin and George Harrison among others. His musical reputation goes far beyond his exemplary sitar playing in the traditional ragas and covers much classical Indian music also. Philip Glass, mostly known for his repetitive structures as a member of the minimalist school and for his powerful soundtracks, has gained a wider audience with classical and popular music afficionados outside of the USA. This album works in many different ways. Despite their differing backgrounds each musician has produced memorable soundscapes which reach deeply into the history of each of the collaborators and their musical heritage and which emerge to enchant and delight the listener. It is often difficult to distinguish the individual contributions from each other in particular pieces which underscores their deep understanding and appreciation of each others work. The pieces are extremely moving and cover a whole gamut of emotions. Each composition has it's own particular feature which causes me to come back to this album again and again. In some ways this album is greater than either of it's component parts and will be a lasting testament to the work of these two great composers.

Musicians: Vocals Ravi Shankar and S.P. Balasubramanyam and the Madras Choir.
Orchestral group from Madras.
Soloists: Ronu Mazumdar, Flute; Shubho Shankar, Sitar; Partha Sarathy, Sarod; Partha Sarathy, Veena; T. Srinivasan, Mridangam & Drum Speech; Abhiman Kaushal, Tabla. Production Glass: Music by Philip Glass. Produced by Kurt Munkacsi for Euphorbia Productions, Ltd., NYC. Conducted by Michael Riesman. Engineered by Blaise Dupuy. Assistant Engineers: Michael McGrath, Ramone Diaz. Recorded at The Living Room Studios, NYC. Executive Producer: Rory Johnston. Edited with Sound Tools by Digidesign. Musicians: Strings: Tim Baker Violin; Barry Finclair Violin, Viola; Mayuki Fukuhara Violin; Regis landiorio Violin; Karen Karlsud Violin; Sergiu Schwartz Violin; Masako Yanagita, Violin, Viola; Al Brown, Viola; Richard Sortomme, Viola; Seymour Barab, Cello; Beverly Laudrisen, Cello; Batia Lieberman, Cello; Fred Zlotkin, Cello; Joe Carver, Bass. Woodwinds: Theresa Norris, Flute; Jack Kripl, Flute, Soprano Saxophone;on Gibson, Soprano Saxophone; Richard Peck, Tenor, Alto Saxophone; Lenny Pickett, Tenor, Alto Saxophone. Brass: Peter Gordon, French Horn; Ron Sell, French Horn; Keith O'Quinn, Trombone; Alan Raph, Trombone. Gorden Gottleib: Percussion. Jeanie Gagne: Voice. Michael Riesman: Piano. Art Direction by Melanie Penny. Design by Candyernigan. Photography by Ebet Roberts.

Tracks 1,5,6 Composed by Ravi Shankar, Tracks 2,3,4 Composed by Philip Glass.

Passages