Philip Glass (born January 31, 1937) is an American composer and pianist.
In 1954, Glass traveled to Paris, where he encountered the films of Jean Cocteau, which made a lasting impression on him.
In 1959, he was a winner in the BMI Foundation's BMI Student Composer Awards, an international prize for young composers.
In the summer of 1960, he studied with Darius Milhaud at the summer school of the Aspen Music Festival and composed a violin concerto for a fellow student, Dorothy Pixley-Rothschild.
These significant encounters resulted in a collaboration with Breuer for which Glass contributed music for a 1965 staging of Samuel Beckett's Comédie (Play, 1963).
Together with Akalaitis (they married in 1965), Glass in turn attended performances by theatre groups including Jean-Louis Barrault's Odéon theatre, The Living Theatre and the Berliner Ensemble in 1964 to 1965.
Together with Akalaitis (they married in 1965), Glass in turn attended performances by theatre groups including Jean-Louis Barrault's Odéon theatre, The Living Theatre and the Berliner Ensemble in 1964 to 1965.
These significant encounters resulted in a collaboration with Breuer for which Glass contributed music for a 1965 staging of Samuel Beckett's Comédie (Play, 1963).
After Play, Glass also acted in 1966 as music director of a Breuer production of Brecht's Mother Courage and Her Children, featuring the theatre score by Paul Dessau. In parallel with his early excursions in experimental theatre, Glass worked in winter 1965 and spring 1966 as a music director and composer on a film score (Chappaqua, Conrad Rooks, 1966) with Ravi Shankar and Alla Rakha, which added another important influence on Glass's musical thinking.
After Play, Glass also acted in 1966 as music director of a Breuer production of Brecht's Mother Courage and Her Children, featuring the theatre score by Paul Dessau. In parallel with his early excursions in experimental theatre, Glass worked in winter 1965 and spring 1966 as a music director and composer on a film score (Chappaqua, Conrad Rooks, 1966) with Ravi Shankar and Alla Rakha, which added another important influence on Glass's musical thinking.
1, 1966). Glass then left Paris for northern India in 1966, where he came in contact with Tibetan refugees and began to gravitate towards Buddhism.
He met Tenzin Gyatso, the 14th Dalai Lama, in 1972, and has been a strong supporter of the Tibetan independence ever since. ===1967–1974: Minimalism: From Strung Out to Music in 12 Parts=== Shortly after arriving in New York City in March 1967, Glass attended a performance of works by Steve Reich (including the ground-breaking minimalist piece Piano Phase), which left a deep impression on him; he simplified his style and turned to a radical "consonant vocabulary".
The first concert of Glass's new music was at Jonas Mekas's Film-Makers Cinemathèque (Anthology Film Archives) in September 1968.
(Glass returned the compliment in 2005 with A Musical Portrait of Chuck Close for piano.) With 1+1 and Two Pages (composed in February 1969) Glass turned to a more "rigorous approach" to his "most basic minimalist technique, additive process", pieces which were followed in the same year by Music in Contrary Motion and Music in Fifths (a kind of homage to his composition teacher Nadia Boulanger, who pointed out "[fifths]" in his works but regarded them as cardinal sins).
These pieces were performed by The Philip Glass Ensemble in the Whitney Museum of American Art in 1969 and in the Solomon R.
Guggenheim Museum in 1970, often encountering hostile reaction from critics, but Glass's music was also met with enthusiasm from younger artists such as Brian Eno and David Bowie (at the Royal College of Art ca.
He met Tenzin Gyatso, the 14th Dalai Lama, in 1972, and has been a strong supporter of the Tibetan independence ever since. ===1967–1974: Minimalism: From Strung Out to Music in 12 Parts=== Shortly after arriving in New York City in March 1967, Glass attended a performance of works by Steve Reich (including the ground-breaking minimalist piece Piano Phase), which left a deep impression on him; he simplified his style and turned to a radical "consonant vocabulary".
Glass's new works met with a very enthusiastic response by the audience which consisted mainly of visual and performance artists who were highly sympathetic to Glass's reductive approach. Apart from his music career, Glass had a moving company with his cousin, the sculptor Jene Highstein, and also worked as a plumber and cab driver (during 1973 to 1978).
Glass's new works met with a very enthusiastic response by the audience which consisted mainly of visual and performance artists who were highly sympathetic to Glass's reductive approach. Apart from his music career, Glass had a moving company with his cousin, the sculptor Jene Highstein, and also worked as a plumber and cab driver (during 1973 to 1978).
(Glass returned the compliment in 2005 with A Musical Portrait of Chuck Close for piano.) With 1+1 and Two Pages (composed in February 1969) Glass turned to a more "rigorous approach" to his "most basic minimalist technique, additive process", pieces which were followed in the same year by Music in Contrary Motion and Music in Fifths (a kind of homage to his composition teacher Nadia Boulanger, who pointed out "[fifths]" in his works but regarded them as cardinal sins).
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