Philip on Film: Filmworks by Philip Glass

Editorial Reviews

Barnes & Noble - Scott Paulin
As a general rule, music is a subservient element in movies, acting almost subliminally to provide an appropriate mood rather than overtly calling attention to itself. This is a role that Philip Glass's minimalist style, with it's hypnotic pulsations and repetitions, is uniquely suited to, so it's no surprise that film music has been the medium for some of the composer's most striking artistic successes. This five-disc collection includes excerpts from some of Glass's more traditional scores Martin Scorsese's Kundun, Errol Morris's documentary The Thin Blue Line, but more important, it collects several of his more experimental and visionary cinematic collaborations. The...
See more details below
This CD is Not Available through BN.com

Editorial Reviews

Barnes & Noble - Scott Paulin
As a general rule, music is a subservient element in movies, acting almost subliminally to provide an appropriate mood rather than overtly calling attention to itself. This is a role that Philip Glass's minimalist style, with it's hypnotic pulsations and repetitions, is uniquely suited to, so it's no surprise that film music has been the medium for some of the composer's most striking artistic successes. This five-disc collection includes excerpts from some of Glass's more traditional scores Martin Scorsese's Kundun, Errol Morris's documentary The Thin Blue Line, but more important, it collects several of his more experimental and visionary cinematic collaborations. The first of these was Glass's 1983 score for Godfrey Reggio's Koyaanisqatsi, a stunning collage of images ranging from nature to urban blight, to which the music forms an equal partner and an indispensable counterpoint. A new digital recording of this seminal score is featured in this set. Glass and Reggio collaborated again on Powaqqatsi. This is more optimistic music, borrowing styles, instruments, and voices from various branches of world music; it works less well as independent listening, but it's interesting to hear Glass's style transformed by the new elements he incorporates here.

In scoring Tod Browning's Dracula 1931, Glass was treading on new ground, adding a new musical element to an existing, classic film. The resulting music, all for string quartet and performed by the Kronos Quartet, magically creates a broad array of varied shadings within a bleak and ominous mood, consistently eerie without trying too hard to terrify. Best of all is Glass's luminous score for Jean Cocteau's La Belle et la Bête Beauty and the Beast. It may seem impudent to displace the film's fine original score by Georges Auric, but Glass transforms the movie so thoroughly -- he actually sets the French dialogue as song -- that a new and surprisingly effective hybrid genre is born, combining film, opera, and oratorio. A fifth disc of score excerpts also includes the world premiere recordings of two new scores for short films directed by Peter Greenaway and Atom Egoyan, which find Glass writing in a slightly more angular, brittle style than usual. Whether or not this represents the direction his film compositions will take in the future, he's certain to create more provocative works in the genre to supplement the rich collection assembled here.

All Music Guide - Richard S. Ginell
In conjunction with a fall 2001 touring film festival, in which the Philip Glass Ensemble played the composer's scores live in sync with the films, Nonesuch released this handy, compact five-disc retrospective of Glass' prolific output for the cinema. Perhaps subliminally aware that Glass' large film catalog is wildly uneven in quality, producers and longtime associates Kurt Munkacsi and Michael Riesman have chosen wisely and well, generally giving the best scores complete or nearly complete attention on the first four discs and saving the fifth disc for excerpts from others, as well as a few unreleased new works for the faithful. Of all of Glass' cinematic collaborators, director Godfrey Reggio seems to have brought out the best in this composer. "Koyaanisqatsi" (disc one) -- Reggio's cry of protest against the out-of-control pace of so-called civilization -- inspired Glass' most memorable film score, where his trademark arpeggios are put to furious use. The performance heard here is the uncut 1998 remake, which traces the shape of the score far more effectively than the original soundtrack on Antilles. The sequel, "Powaqqatsi" (disc two), is another worthy Glass score, reaching its peak when the music receives jolts of exhilaration from various Third World influences. "Dracula" (disc three), as played by the Kronos String Quartet, comes off a lot better here than as part of the film, where its serious, brooding aspects work against the campy images of Bela Lugosi and company on the screen. Almost all of "La Belle et la Bete" -- 71 of its 89 minutes -- is condensed onto one CD (disc four), providing a pretty good summary of Glass' outlandish yet successful attempt to superimpose a newly composed, Gallic-flavored opera upon the Jean Cocteau film. Besides reducing the Far East-spiked scores from "Anima Mundi" and "Kundun," the diverse mishmash of "Mishima," and the fairly uninteresting "The Secret Agent" and "The Thin Blue Line" into handfuls of easily assimilated cues, disc five plunges forward with a pair of 2001 Glass scores for film shorts by Peter Greenaway ("The Man in the Bath") and Atom Egoyan ("Diaspora"), plus an unreleased 1984 take of "Facades" used in Reggio's "Evidence." The meager crop of extras will, of course, drive Glass completists who have the rest of this stuff batty -- and frankly, the scores for the shorts are little more than summaries of Glass' usual mannerisms. But those who are new to Glass' film music need go no further than this collection for enlightenment.
New York Times - Jon Pareles
Philip Glass has been willing to share one of a composer's main prerogatives - the manipulation of time - with film directors living (Errol Morris) and dead (Jean Cocteau) in his music for soundtracks. The results are often a salutary jolt to his usual scales and arpeggios. He adds world-music exotica and percussive kick in "Powaqqatsi" and "Anima Mundi," hints at French cabaret in "La Belle et la Bête," uses chanting Tibetan monks as a foundation in "Kundun," uses rock and reggae guitar in "Mishima" and gets almost cartoony with the quick-change "The Man in the Bath." And in his more typical passages, he's easily the match of the many soundtrack composers who imitate him.
Gramophone - Martyn Harry
This five-CD retrospective of Glass's film music is fascinating because film represents another area in which he has changed the way we understand new music. His through-composed score for Koyaanisqatsi proved the perfect minimalist foil to the innovative repeated-movement patterns of Godfrey Reggio's film.

Philip Glass has been willing to share one of a composer's main prerogatives - the manipulation of time - with film directors living (Errol Morris) and dead (Jean Cocteau) in his music for soundtracks. The results are often a salutary jolt to his usual scales and arpeggios. He adds world-music exotica and percussive kick in "Powaqqatsi" and "Anima Mundi," hints at French cabaret in "La Belle et la Bête," uses chanting Tibetan monks as a foundation in "Kundun," uses rock and reggae guitar in "Mishima" and gets almost cartoony with the quick-change "The Man in the Bath." And in his more typical passages, he's easily the match of the many soundtrack composers who imitate him.
Read More Show Less

Product Details

  • Release Date: 10/2/2001
  • Label: Nonesuch
  • UPC: 075597966022
  • Catalog Number: 79660

Tracks

Disc 1
  1. 1 Koyaanisquatsi, film score - Philip Glass & Jon Gibson (73:19)
  2. 2 Powaqqatsi, film score - Philip Glass & Jon Gibson (73:38)
  3. 3 Dracula, film score for string quartet - Philip Glass & Jon Gibson (66:49)
  4. 4 La Belle a la Bête, opera: Ouverture - Philip Glass & Jon Gibson (3:14)
  5. 5 La Belle a la Bête, opera: Les Soeurs - Philip Glass & Jon Gibson (2:56)
  6. 6 La Belle a la Bête, opera: La Demande En Mariage D'Avenant - Philip Glass & Jon Gibson (3:18)
  7. 7 La Belle a la Bête, opera: Le Voyage Du Père - Philip Glass & Jon Gibson (4:06)
  8. 8 La Belle a la Bête, opera: Le Domaine De La Bête - Philip Glass & Jon Gibson (4:47)
  9. 9 La Belle a la Bête, opera: Le Retour Du Père - Philip Glass & Jon Gibson (2:06)
  10. 10 La Belle a la Bête, opera: La Belle Va Au Château - Philip Glass & Jon Gibson (4:55)
  11. 11 La Belle a la Bête, opera: Le Dîner - Philip Glass & Jon Gibson (3:15)
  12. 12 La Belle a la Bête, opera: Les Tourments De La Bête - Philip Glass & Jon Gibson (3:30)
  13. 13 La Belle a la Bête, opera: Promenade Dans Le Jardin - Philip Glass & Jon Gibson (8:21)
  14. 14 La Belle a la Bête, opera: La Saisie Des Meubles - Philip Glass & Jon Gibson (1:24)
  15. 15 La Belle a la Bête, opera: La Confiance De La Bête En la Belle - Philip Glass & Jon Gibson (4:11)
  16. 16 La Belle a la Bête, opera: Belle Retourne Chez Son Père - Philip Glass & Jon Gibson (1:46)
  17. 17 La Belle a la Bête, opera: Belle Raconte Son Histoire - Philip Glass & Jon Gibson (3:33)
  18. 18 La Belle a la Bête, opera: Le Plan - Philip Glass & Jon Gibson (3:15)
  19. 19 La Belle a la Bête, opera: La Passion D'Avenant - Philip Glass & Jon Gibson (2:25)
  20. 20 La Belle a la Bête, opera: Le Magnifique Apparaít - Philip Glass & Jon Gibson (2:53)
  21. 21 La Belle a la Bête, opera: Le Miroir - Philip Glass & Jon Gibson (3:41)
  22. 22 La Belle a la Bête, opera: Le Pavillon - Philip Glass & Jon Gibson (3:25)
  23. 23 La Belle a la Bête, opera: La Métamorphose - Philip Glass & Jon Gibson (3:52)
  24. 24 Anima Mundi, film score: The Journey - Michael Riesman & Philip Glass (4:10)
  25. 25 Anima Mundi, film score: Perpetual Motion - Michael Riesman & Philip Glass (5:34)
  26. 26 Anima Mundi, film score: The Witness - Philip Glass & Jon Gibson (4:15)
  27. 27 Kundun, film score: Sand Mandala - Philip Glass & Jon Gibson (4:04)
  28. 28 Kundun, film score: Projector - Philip Glass & Jon Gibson (2:06)
  29. 29 Kundun, film score: Escape To India - Philip Glass & Jon Gibson (10:09)
  30. 30 Mishima, film score: Mishima/Opening - Philip Glass & Jon Gibson (2:46)
  31. 31 Mishima, film score: Osamu's Theme: Kyoko's House - Philip Glass & Jon Gibson (3:01)
  32. 32 Mishima, film score: November 25: Ichigaya - Philip Glass & Jon Gibson (2:16)
  33. 33 Mishima, film score: Mishima/Closing - Philip Glass & Jon Gibson (3:02)
  34. 34 The Secret Agent, film score for chamber ensemble: Secret Agent - Philip Glass & Jon Gibson (4:49)
  35. 35 The Secret Agent, film score for chamber ensemble: The First Meridian - Philip Glass & Jon Gibson (3:19)
  36. 36 The Secret Agent, film score for chamber ensemble: Trust - Philip Glass & Jon Gibson (3:46)
  37. 37 The Thin Blue Line, film score: End Credits - Philip Glass & Jon Gibson (4:00)
  38. 38 The Man in the Bath, film score: The Man In The Bath - Philip Glass & Jon Gibson (7:03)
  39. 39 Evidence, film score: Façades - Philip Glass & Jon Gibson (4:11)
  40. 40 Diaspora, film score: Diaspora - Philip Glass & Jon Gibson (7:47)
Read More Show Less

Album Credits

Technical Credits
Philip Glass Composer
Read More Show Less

Customer Reviews

Be the first to write a review
( 0 )
Rating Distribution

5 Star

(0)

4 Star

(0)

3 Star

(0)

2 Star

(0)

1 Star

(0)

Your Rating:

Your Name: Create a Pen Name or

Barnes & Noble.com Review Rules

Our reader reviews allow you to share your comments on titles you liked, or didn't, with others. By submitting an online review, you are representing to Barnes & Noble.com that all information contained in your review is original and accurate in all respects, and that the submission of such content by you and the posting of such content by Barnes & Noble.com does not and will not violate the rights of any third party. Please follow the rules below to help ensure that your review can be posted.

Reviews by Our Customers Under the Age of 13

We highly value and respect everyone's opinion concerning the titles we offer. However, we cannot allow persons under the age of 13 to have accounts at BN.com or to post customer reviews. Please see our Terms of Use for more details.

What to exclude from your review:

Please do not write about reviews, commentary, or information posted on the product page. If you see any errors in the information on the product page, please send us an email.

Reviews should not contain any of the following:

  • - HTML tags, profanity, obscenities, vulgarities, or comments that defame anyone
  • - Time-sensitive information such as tour dates, signings, lectures, etc.
  • - Single-word reviews. Other people will read your review to discover why you liked or didn't like the title. Be descriptive.
  • - Comments focusing on the author or that may ruin the ending for others
  • - Phone numbers, addresses, URLs
  • - Pricing and availability information or alternative ordering information
  • - Advertisements or commercial solicitation

Reminder:

  • - By submitting a review, you grant to Barnes & Noble.com and its sublicensees the royalty-free, perpetual, irrevocable right and license to use the review in accordance with the Barnes & Noble.com Terms of Use.
  • - Barnes & Noble.com reserves the right not to post any review -- particularly those that do not follow the terms and conditions of these Rules. Barnes & Noble.com also reserves the right to remove any review at any time without notice.
  • - See Terms of Use for other conditions and disclaimers.
Search for Products You'd Like to Recommend

Recommend other products that relate to your review. Just search for them below and share!

Create a Pen Name

Your Pen Name is your unique identity on BN.com. It will appear on the reviews you write and other website activities. Your Pen Name cannot be edited, changed or deleted once submitted.

 
Your Pen Name can be any combination of alphanumeric characters (plus - and _), and must be at least two characters long.

Continue Anonymously