Philip Glass Soho News

She married Lou Reed in Username or Email Address. And that comes from duration, I think. In his novel Dr. Sign up here.

More than 50 years have passed since Glass began composing works that would prove a pivotal influence on the course of Western music, and he still dares to make changes and take chances.

My job is to write it. This year, Days and Nights kicks off on Saturday, October 5, with A Thousand Thoughts , a documentary film about the Kronos Quartet featuring live musical accompaniment. Glass and Pico Iyer should have plenty to talk about. Call or see artsandlectures.

Username or Email Address. Remember Me. Add to Favorites. Tom Huizenga. After meeting in the artistic SoHo loft scene in the early s, Laurie Anderson and Philip Glass have been frequent collaborators. American composer Philip Glass turns 80 years old on January To mark the occasion, we asked several of Glass' colleagues and collaborators to pick a piece of his music and write about it. We also asked Laurie Anderson. She wrote about Glass' piano Etude No. We also wanted to talk to her about first meeting Glass and collaborating with him in the blossoming communal arts scene of writers, dancers, sculptors and composers in lower Manhattan in the early s.

Some of the music that fueled that artistic cooperative came from Glass, the young experimenter who held extended rehearsals in his SoHo loft. Anderson recalls listening to those musical marathons for eight hours in a row, staring at the ceiling and letting the sound wash over her. In , the song "O Superman" became a hit for Anderson, first in the U. She's since made albums, films, multi-media pieces and written books. She married Lou Reed in She continues to collaborate with Glass on projects and in concert.

Anderson says she's continually inspired by Glass' generosity, open mind and fresh ideas — even when those ideas sometime push her to uncomfortable places. She felt it wasn't the right time. But after Glass insisted, she realized how powerful the music became and they have performed it in concert several times. Listen to a wide-ranging discussion about Glass's music, the SoHo artistic community and why we are "collapsing under the weight of our own stories" at the listening link above, and read edited highlights below.

I began to listen to Phil's music at the same time I began to meditate, so they're forever bound together for me. Also, I found I could listen to Phil's music in a way I'd never listened before, which was in a kind of meditative state. Not expecting it to do giant crescendos and then loop back to the theme, but to be persistently there. And we would lie on the floor and look at the ceilings of these lofts, and after eight hours later, we would just leave.

And that comes from duration, I think. I feel that with Pauline Oliveros' music and with much of Brian Eno's music. I feel it with Phil's music — it's very immersive.

In his novel Dr. Faustus , Thomas Mann portrays the fictional composer Adrian Leverkuhn as a Promethean figure punished by fate for bringing fiery new modes of musical expression into being. Glass famously drove a New York City cab when he was a young man, and the sangfroid required to navigate Manhattan traffic remains a feature of his disposition to this day.

Indeed, compositions from every period in his vast oeuvre have now become staples of not only the concert hall but the dance world, the theater, opera, and film soundtracks. More than 50 years have passed since Glass began composing works that would prove a pivotal influence on the course of Western music, and he still dares to make changes and take chances. My job is to write it. This year, Days and Nights kicks off on Saturday, October 5, with A Thousand Thoughts , a documentary film about the Kronos Quartet featuring live musical accompaniment.

Glass and Pico Iyer should have plenty to talk about. But after Glass insisted, she realized how powerful the music became and they have performed it in concert several times. Listen to a wide-ranging discussion about Glass's music, the SoHo artistic community and why we are "collapsing under the weight of our own stories" at the listening link above, and read edited highlights below.

I began to listen to Phil's music at the same time I began to meditate, so they're forever bound together for me. Also, I found I could listen to Phil's music in a way I'd never listened before, which was in a kind of meditative state. Not expecting it to do giant crescendos and then loop back to the theme, but to be persistently there.

And we would lie on the floor and look at the ceilings of these lofts, and after eight hours later, we would just leave. And that comes from duration, I think.

I feel that with Pauline Oliveros' music and with much of Brian Eno's music. I feel it with Phil's music — it's very immersive. And of course, of those three, Phil is the more driving one. He's got a propulsive thing. In a way, it's really just keeping you in place and awake. When I say driving, you're not going anywhere. No street lights and no stores. We were all doing our lofts, so we were driving pickup trucks, wearing work clothes.

At that time none of us thought we would ever be professional artists or that anyone would ever pay us for doing any of this. So it was this really crazy innocent moment. So we had this megalomaniacal idea about what we were doing in this so-called crazy downtown scene, which involved sculpture, dance, music, writing — all kinds of things.

And maybe at that time, you could say there were artists in SOHO. Probably not more were living and working there. It was a really tiny group. We all knew each other, and we all helped each other. It was a very egalitarian time. And it's easy to forget this, but it wasn't that far from the '60s.