tag:blogger.com,1999:blog-4865764596112100655.post2555974408908784064..comments2023-08-29T08:48:55.919-04:00Comments on Carol Diehl's Art Vent: Philip GlassCarol Diehlhttp://www.blogger.com/profile/09023589628710711343noreply@blogger.comBlogger3125tag:blogger.com,1999:blog-4865764596112100655.post-87532200240474153412009-01-22T10:34:00.000-05:002009-01-22T10:34:00.000-05:00I have a Philip Glass story for you. Sometime in t...I have a Philip Glass story for you. Sometime in the late 80s, Glass's music was being performed at the Joyce Theater in Chelsea in conjunction with a dance performance. I don't remember the details, except that it was the premier of the dance and the music, and that Glass was sitting in the center seat of the L row. <BR/><BR/>An acquaintance of mine, visiting from out of town, came along at the last minute. I had my customary side aisle seat on the M row, and she was able to get a center M seat--right behind Glass.<BR/><BR/>The Glass work was the last one of the evening. When the lights came up and she began scootching down the row to the aisle, she boomed to me, blithly unaware of the composer, "Well the dance was good but that music was TERRIBLE!" <BR/><BR/>Glass was still seated so I didn't see his reaction, but the entire rest of the audience moved slightly away from her, some looking back at Glass an others at the stairs as they walked up to the exit. I pretended I didn't know her until we got to the relative anonymity of the sidewalk. The funny this is that I thought it was the best Glass I'd heard in a while.Joanne Matterahttps://www.blogger.com/profile/02564594823192456546noreply@blogger.comtag:blogger.com,1999:blog-4865764596112100655.post-46681048311357843732009-01-21T09:56:00.000-05:002009-01-21T09:56:00.000-05:00Thanks, CAP. I didn't mention "Koyaanisqatsi" beca...Thanks, CAP. I didn't mention "Koyaanisqatsi" because it wasn't one of the films Glass discussed, and also my experience with it was on TV—not definitive.<BR/><BR/>As far as Glass’s development goes, I’m not saying this is true of you—but I find that many Glass critics have not listened to his music closely in recent years. I also think it’s challenging to assess development in the work of an artist one doesn’t particularly enjoy. I do enjoy Glass’s work, as I have always loved structure and deviation (both in music and visual art) but also find it lyrical and emotional. As far as “changing”—I don’t think Glass’s work has changed as much as it has gained depth and breadth. If you didn’t already, you might want to check out last year’s Alex Ross’s article on Glass in The New Yorker:<BR/><BR/>http://philipglass.typepad.com/glass_notes/2007/10/the-endless-scr.htmlCarol Diehlhttps://www.blogger.com/profile/09023589628710711343noreply@blogger.comtag:blogger.com,1999:blog-4865764596112100655.post-16159555809400058872009-01-20T09:51:00.000-05:002009-01-20T09:51:00.000-05:00I'm surprised you make no mention of Koyaanisqatsi...I'm surprised you make no mention of <I>Koyaanisqatsi</I> which I could have sworn I saw in some version in London in 77 or 78, although Wikipedia assures me must have been 82 or 83. Anyway that's when I first took note of this avante-garde composer doing a film score (albeit a kind of avant-garde film).<BR/><BR/>I always preferred Terry Riley, both as a person and composer. But a good friend who was a huge Glass fan, when she finally got to meet him found him very disappointing, talking mainly about money, or lack of for composers. "Whatever he used to be, now he's just a breadhead" was her summary.<BR/><BR/>But I think you're spot on in describing his lack of personality, away from music, or as a person - there is just nothing left over. But then I also think the music reflects this paucity, at least in terms of development. I don't think his music has really developed very far from the 70s.CAPhttps://www.blogger.com/profile/09861096695503969576noreply@blogger.com