![]() ![]() ![]() It’s the sound of revelation through repetition and freedom through order. Philip Glass began his operatic career in the 1970s and ’80s with a trilogy focused on great visionaries of history: Einstein on the Beach Satyagraha, a meditation on. Listen for his imprint in ’70s art-rock like David Bowie and Brian Eno's avant-leaning Berlin Trilogy, Donna Summer’s pulsing “I Feel Love,” house and techno music, and the lope of left-field hip-hop. LA Operas presentation of Satyagraha by Philip Glass marked the companys completion of the composers portrait trilogy of operas about powerful thinkers. He set the template for modern opera with his epic 1976 work Einstein on the Beach, and has scored experimental theater and Hollywood film, working with artists as varied as David Byrne, Allen Ginsberg, Martin Scorsese, and Ravi Shankar (with whom Glass studied in his twenties). A fixture of the New York art scene in the ’60s and ’70s who continued to work as a taxi driver and plumber into his forties, the Baltimore-born Glass also helped redraw the boundaries of what a so-called classical composer could be. (Glass once compared his work ethic to that of an athlete in training.) Songs like “The Grid,” from his soundtrack to 1982’s experimental documentary Koyaanisqatsi, sound at once primitive and futuristic, orderly and ecstatic, like an Indian raga generated by a giant, unblinking machine. Repetitive, hypnotic, and unapologetically beautiful, Glass’ style all but defines the popular concept of minimalism-a fraught term considering how rigorous the music actually is. Well Philip, Glass recalls Roo saying, That was fascinating. Roo had just seen Einstein on the Beach performed at the Carr Theater in Amsterdam. No 20th-century composer has penetrated pop's consciousness like Philip Glass. In his autobiography, Music by Philip Glass, the composer recounts a conversation he had in 1976 with Hans de Roo, the director of Netherlands Opera. ![]()
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