I would love to agree with this, but something tells me my hubby would give me the wide eyes look and say something about my camera stuff taking up as much space as his muscle cars...or less likely to be distracted by the technology.
I first (and probably last as of now) heard Glass in the 80s. I don't know the piece that kept being played, but it was on a classical station from Albany, NY. It was just the same thing over and over and just didn't do it for me. I think if it were with a film that it might fit and make more sense, but just it by itself was boring to me (keep in mind that I was a teenager, too).
I do like the Strauss horn concerti, too. Actually anything with a horn part better than oompa oompa. I enjoy listening to the Mozart ones when they're played by someone like Dennis Brain, but many recordings don't get me interested either. Having heard others by Mozart over the years, they all do sound similar. I guess it's like photography - I appreciate the technique of the player even if the piece (the photo) is similar to others or not that exciting.
>>I first (and probably last as of now) heard Glass in the 80s.<<
The earlier work by Glass tends to be more difficult to get into for many people. Highly repetitive... try something later...
--Darin
Although the "repetitive" stuff is really what defines Glass's genius.
Glassworks is a good album. But my favorite early Glass work is the soundtrack to Koyaanisqatsi. Don't get the movie--that takes commitment on a whole different level. Just get the soundtrack. Played straight through, it's about 45 minutes.
One thing I like about Glass is that his music is a return to consonance. So much of modern music has been dissonant or atonal, that one wondered if there was nothing left to be said with tonal intervals that actually sounded resonant. Glass has shown one way of breaking new ground with resonant scales and actual recognizable pitch centers.
But for me it's the opposite of Mozart, which is more fun to play than to listen to. Glass is absolute torture to play. I spent some time trying to find a way to do some of his stuff using a tuba, and the only way it can be done is with an ensemble playing fragments in turn. Glass's wind-instrument performers are masters of the difficult skill of circular breathing, which is not easy on tuba and vastly beyond my own abilities.
Rick "who needs to pull out that Koyaanisquatsi album again" Denney
Yup,
It's Kraftwerk indeed, there most famous album was "Autobahn", a great "song" and the best one from the ones I know a bit.. Pops up in my mind whenever I drive on the German highways (and not on my "own" Dutch highways.. )..already OT, but here it is..
Wir fahr'n fahr'n fahr'n auf der Autobahn
Vor uns liegt ein weites tal
Die sonne scheint mit glitzerstrahl
Die fahrbahn ist ein graues band
Weisse streifen, gruener rand
Jetzt schalten wir das radio an
Aus dem lautsprecher klingt es dann:
Wir fahr'n auf der Autobahn...
Translation:
We are driving on the Autobahn
In front of us is a wide valley
The sun is shining with glittering rays
The driving strip is a grey track
White stripes, green edge
We are switching the radio on
From the speaker it sounds:
We are driving on the Autobahn
best,
Cor
Someone could curate a really weird art event from all the stuff mentioned in this thread.
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