From his childhood in Baltimore to his student days in Chicago and at Juilliard, to his first journey to Paris and a life-changing trip to India, Glass movingly recalls his early mentors, while reconstructing the places that helped shape his creative consciousness. Whether describing working as an unlicensed plumber in gritty s New York or composing SatyagrahaGlass breaks across genres and re-creates, here in words, the thrill that results from artistic creation.
Words Without Music ultimately affirms the power of music to change the world. The composer of operas, film scores, and symphonies, he performs regularly with the Philip Glass Ensemble and lives in New York.
Illuminating… [Glass] is always vigorous in defending his artistic choices and aesthetics. Glass's music may sound simple, but it revels in subtle complexity. Essential reading for anyone remotely interested in the evolution of Recollections - TriCoolOre - World Without Words (CD) avant-garde during the past half-century… Words Without Music [is] an important contribution to cultural history.
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About Sylvia Honnor. He dedicated it to the Polish pianist and teacher Jerzy Lalewicz, eight years his senior. Its outline structure conforms to a sonata allegro, with two subject areas in which the second conventionally appears in the dominant D major in the exposition and then in the tonic in the recapitulation. Thematic motifs are diatonic and the second theme is four-square.
The main theme is intimated at the start of the introduction by the descending flute, followed by a livelier rhythmic idea played by low trumpet. After a solo flourish, the piano states these two ideas in reverse order. The flute motif is now much more prominent and is marked Grandioso. It soon vanishes, however, and is replaced by a subsidiary idea that winds its way towards the second subject. He dwells on the lyrical second subject, eventually draping it in pianistic arpeggios and trills.
The development is the most dynamic section, at one point with the trumpet elaborating on its initial motif. The recapitulation, while still following the basic trajectory of the exposition, is fuller in texture and more forward expressively.
After a momentary relaxation, it launches once more into the main theme, which seems destined to provide a climactic conclusion. The music subsides onto the home chord of G Recollections - TriCoolOre - World Without Words (CD) and closes unobtrusively, as if in the hands of the subtlest storyteller. He put their often emotionally wrought world to one side for this, his first large-scale abstract orchestral work.
The motivic definition of the introspective orchestral opening, despite its long-term significance, Recollections - TriCoolOre - World Without Words (CD), is soon overwhelmed by pianistic bravura.
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