Product Description
A collection of music arranged for solo piano, including Metamorphoses One to Five collected together for the first time. Suitable for intermediate to advanced pianists. ... Read more

Customer Reviews (6)

Great music
This book is spectacular.Philip Glass is a very wonderful composer and this book is very accessible to play.With just a small amount of practice; mediocre pianists can sound great.Very clean and easy to read.

HIGHLY RECOMMENDED!!

Great pieces
These are great pieces, most of them easily played by the beginning-to-intermediate student of piano. There are some tricky counterpoints in one or two spots that are troublesome, but most or these pieces are repetitive and easy to learn. The difficulty lies in a lack of fingering instructions or dynamics. One of my favorite books to play, however, that said.
As a side note -- if you happen to be a Battlestar Galactica fan and that's how you ended up here, yes, the piece played in "Valley of Darkness" is included in this book.

Good to limber up the fingers
I agree with everything previous reviewers have written about these pieces.They are repetative, and ad nauseum, is a good term.They are easy to tackle in one to two sittings, but the real value is how well they limber up my fingers for some more serious playing.More fun than the usual scales and chord inversions.After a few minutes of working these pieces Mozart and Beethoven pieces run more smoothly.

Minimalist style
If you already know and like the minimalist style from Philip Glass, you'll have more chances on liking the musics on this album.
It's really a mood thing. Sometimes you will play and love it, sometimes you'll just get bored over it. That's also valid for listeners.
Some people will love it, some people will get sleepy.
Still, a great aquisition for intermediate piano students.

Easy and repetitive, but somehow succeeeds with that
If you can play arpeggios worth a cent, you can play this flawlessly in one to two practice sessions per piece.The pieces consist of only a few lines of music each, which are repeated ad nauseum throughout the songs.It's an interesting style that provides good background music, but kind of grates on the ears after a while. ... Read more

Product Description
Written jointly as an appraisal of his work and a biography, Philip Glass details the landmark points of his career and the artists he recorded with, such as Ravi Shankar. ... Read more

Customer Reviews (3)

Resoundingly disappointing
Easily one of the worst books I've ever read.

I expected an analysis and I got an egotistical self-aggrandizing viewpoint from a writer who clearly missed the fundamental compelling nature of Glass's music.

Interviews with Glass were ramblings on how poorly classical music is disseminated to common people by writers who don't understand music in general. Duh.

No significant comparisons or parallels are ever made to place Glass within a context of modern innovators of music theory and no thorough examination is made of Glass's most critical works.

Much too much writing about how Glass's music remains unacceptable to the stagnant community of classical American composers. Guess what? When you innovate in a conservative social environment it takes awhile before your ideas catch on. Who knew?

Glass is no angel but he has contributed significantly to the repertoire of modern music and the important matter at hand is HOW and WHY that has occurred.

When I read other documents and interviews about what Glass says about his own work I gain knowledge about both Glass and music in general. By contrast this book is a rambling soliloquy of the writer's revelation that music actually exists outside of his own narrow 19th century understanding of it.

Forget this book: Go get some CD's of Glass's recordings. If you're more into the popular side of music get Koyaanisqatsi and you will get a feel for why Glass's music is compelling in a popular genre. If you can handle an experimental edge get the rest of his works and listen to somebody compellingly perform well outside the core of music theory.

NOT REALLY A "BIOGRAPHY," BUT NEVERTHELESS QUITE INSIGHTFUL
Philip Glass (born 1937) is a composer of "classical" music who has also achieved a measure of "popular" fame.Robert Maycock, an English music writer and critic, has written a fascinating the insightful portrait of him (the subheading on my copy of the book is "A Portrait," not "a Biography," and is a much more accurate description of the work).There are numerous biographical details that come out in the course of the book, but don't expect this to be a "composer's biography" in the Maynard Solomon sense.

Glass first achieved recognition as a composer in the so-called "minimalist" tradition.Of his music from the "minimalist" period (e.g., Music in Twelve Parts, Two Pages: Contrary Motion - Music in Fifths), Maycock says, "The music of that period is essential Glass and is as far as some listeners have ever gone.What followed does not seem so different at first, but over the decades it has continued to evolve until it has reached a kind of music that is only distantly related, in the way that a great-grandchild might bear a family resemblance to the first generation.The attitude and the content change.So it follows that listening practices need to change, too."

But Maycock notes importantly, "Of the composers who came to maturity in the age of minimalism, Glass has developed more than any, while remaining to some extent an outsider to mainstream traditions."Glass himself wrote, "The true minimalism was really over by the end of 'Music In Twelve Parts,' composed in 1974.If you look in the history books and the university curricula, they tend to write about those pieces because that's what they know.There's 25 years of music that they're missing."

In the last 30 years (covered by this book, which was published in 2002), Glass has expanded his output, particularly exploring the symphonic genre, with mixed reviews: "Classical critics too did not like the Glass: Low Symphony, but that is a situation that crops up again and again with his work."Glass has also written film scores for movies like "Kundun," and his music was used in the movie "The Truman Show."

Maycock writes, "it is a fact that Glass works a lot.He takes on projects when he is already busy, he accepts commissions that apparently distract him from his main artistic focus and ... he has composed a substantial body of orchestral music without ever intending to."

For fans of Glass, or for those seeking a perceptive introduction to his work, this book is highly recommended.

Not really a biography, but a terrific reference book
Finally there's a comprehensive book about Glass and his music, with a musicologist's approach.
I think it's exactly the book that was needed, because, even if traces mr.Glass'sbiography in very broad strokes, the book is more of anan analysis of his music in its different forms.
I think it's a terrific book because:
1- It's by an independent writer, so no hagiography, but a very objective and interesting analysis, all the more valuable for that.
For example, the author is not shy of talkingabout controversial issues, like the critics' attitude towards mr.Glass. (you know, those guys that sneer at his music because it does
not conform to the standards they already have pre-set intheir minds)
2- The general tone is that of a vey well-researched and authoritative (if somewhat kinda too concise) book, aimed perhaps more to the informed listener than to the professional musician, which is just fine with me.
It is, actually, a very readable book, especially enlightening when explaining Glass's musical evolution. It really gives you the idea of how and why the music has evolved the way it did.
3- The descriptions of the pieces are great.They're just
like very well written but concise program notes, which is
nothing less than what this marvelous music deserves.
To give you an idea, it's so refreshing to read about the Low Symphony discussed in the same termsof a mainstream full-fledged classical symphony! (which is exactly what it is, in its peculiarly Glassian way)
4- The writer had mr.Glass's endorsement, so there are a few illuminating interviews and, above all,tantalizing descriptions of the pieces that aren't yet recorded , like symphony 6, cello and piano concertos, because the author could listen to the composers' tapes from the performances.
( as you will have gathered, this book is VERY up-to-date)
By the way, are you guys at Nonesuch sleeping? Where the hell are those cd's??Just reading mr. Maycock's enthusiastic description of the 6th symphony gave me a glance at what we're missing. I know corporate guys don't really care about the music, but hey, Glass SELLS!!
A few minor quibbles: there are no photos and the chronological list of works that closes the book is a bit too concise ( usually in such lists you also get details like first performance, recordings etc.)
Strongly recommended, nonetheless. ... Read more

Product Description

Customer Reviews (2)

A very intertaining and solid introduction
This is a very entertaining collection of interviews. Duckworth takes his time to explore the issues sufficiently deeply with his interlocutors. Hence, there is substance to the book: it certainly is more than a loose collection of freewheeling conversations. And I am grateful for the fact that Bill Duckworth expanded his survey beyond the obvious collection of Minimalists and Cage. I knew nothing about Pauline Oliveros, Glen Branca or La Monte Young and came away refreshed from reading all their stories. I was generally satisfied by the way Duckworth steers the interviews. The tone is relaxed, sometimes earnest, sometimes tongue-in-cheeck. He is at his very best in the long, sometimes rambling conversations with La Monte Young and John Zorn. But in other cases - such as with the more rigorous and perhaps intellectually more intimidating personality of Steve Reich - Duckworth rigidly sticks to his agenda and fails to capture a number of potentially interesting tangents. The interview with John Cage is outright funny in the way Duckworth fails to catch on with what Cage really tries to get across. He keeps asking the wrong questions whilst Cage, with dwindling patience, is making broad excursions in conceptual hyperspace. But if Duckworth fails to capture a number of interesting opportunities to dig deeper in some of the interviews, this remains a very valuable collection, at least for those new to the whole field of American experimental music.

great fascinating interviews on American creativity
Willian Duckworth is marvelous at asking questions,he is so natural at it that he makes you feel you have known his guests all your life. He allows everyone to feel at home, at ease,like catching more flies with sugar quip.Like asking John Cage for instance, "I don't have a very goodunderstanding of what your early musical training was like,". or to LaMonte Young, asking if he is the "father of minimalism", I guessit doesn't matter now, since most of what is discussed has played itselfout. Here Duckworth interviews creators of primary creative genres ofAmericana leaning toward the achievements of all the various,nefarious"isms", experimentalism, minimalism, well just intonation doesn'tfit, and the ubiquitously opaque post-modernity. And progressing from whoare considered the Mammas and Pappas to the younger generation.The genre ofInterviews seem to be occurring with greater frequency,speaking of one ofthe features of post-modernity. It is the most immediate way of knowingsomeone's art, aesthetic, how they feel about the world,about politics, orhow they don't feel. Obsessions are explored in these interviews,as withJohn Zorn's early buying jags of recordings,jazz etc.,and formative yearsas with La Monte Young and his obsessions with sound, listening totelephone generators,or machines, the inherent drone in these industrialobjects,Also professional associations, and disassociations with the NewYork scene,Fluxus which includes,just about everyone here interviewed isprobed, with nice discussions of the early years of performance art in NewYork City.Education away from academia was an important component ofAmerican music,sorry to say, with those of the post war-generation turningto the east, and World Music, as Steve Reich, Phil Glass,Lou Harrison,Pauline Oliveros and La Monte Young. Young in particular reflects on hiseducation with Pandit Pran Nath on intonation and improvisation andlearning it with Marian Zazeela.Professional associations, how to surviveby being a performance artist, Duckworth pursues and explores with MeridithMonk and Laurie Anderson, finding gigs in New York City or Europe again waseveryone's passion.How do you work? is also a wonderful question, Monkreflects that she has to work all the time to feel attached, whereas sheknows composers who don't work for months and claim to feel they don't loseanything. How creators get into ,what they get into, as Ben Johnstonreflects on his early education with instrument iconoclast Harry Partch,how Partch taught Johnston to sing fractional tones, an eleventh/sixteenth,and how Partch would devote mornings to music, and afternoons to physicalwork, building sheds,or home extensions,or gathering wood. Also Johnstonspeaks about his wonderful string quartets, the Seventh in particular whichis based on an 100-tone scale, and how we come to understand it via therelationships it represents rather than hearing 100 isolated tones. WithLou Harrison we have almost a history of American music, in that his lifetraversed through the primary achievements, the interests in World Music,Tunings, percussion music, and extended techniques,living on both coasts.But Harrison claims he was always a melodic composer, he had to singwhatever he wrote first, to attach himself to the world of sound, no matterhow complex his music became.Some interviews are boring however as the theone with Phillip Glass where he simply recounts his life, and hisinterests, there was not a spirit of adventure, of discovery.Whereas MiltonBabbitt has wonderful reflections on his early studies in music with RogerSessions, and how Babbitt felt he needed to start over. The interview withChristian Wolff was over before it got interesting,Wolff primarilydiscussed his early music, the pieces associated with the CageSchool(Cage,Feldman,Brown,Wolff)(nice photo of them)instead of traversingthe set of problematics of dealing with political imagery. That questioncame as the very last one."Are you still writing politicalmusic?".Duckworth admirably gives nice introductions to eachcomposer, and makes you feel the center of where creativity occurs, whatexcites an artist,and where challenge and repose occurs within music.Onegood question here always was"When did you first hear of JohnCage", or what was the first piece of "so and so" you heard.This makes for a marvelous discussion on what were the initial indeliablemoments on one's creative life. Not everyone is gifted at interviews it isa conditioned and practiced art. This work is a great model toward thatgenre. ... Read more

Customer Reviews (3)

Good info about the composer's life and works through the mid-eighties
I have always found Philip Glass an interesting artifact.Cool name.In the 80s he had a real presence in both the pop and art cultures, and his music has captivated me for entire minutes.However, the whole minimalist / repetitive / whateveryouwanttocallit method loses me fairly quickly.Did I enjoy Koyaanisqatsi? Yeah, but the FILM with the music, rather than listening to the music apart from the movie. And I thought Glass' music added to the film "Kundun" quite well.He has done a number of film scores.

He brought his opera "1,000 Airplanes on the Roof" to Ann Arbor and I took my oldest two children with me to hear it.Earlier in the day we went over the SKR Classical and bought some of his albums and he signed them for us.He was very kind and took time to talk with my son and daughter.When the music began I was quite impressed.There is this extremely low rumble that you feel before you hear it and the sound just fills your whole body and soars up and out of your hearing.Beautiful and wonderful stuff.However, the work goes on for three hours.

It is an almost incomprehensible story about a man or a woman who works in a copy shop and may or may not have been visited and possessed by aliens.Or he / she might just be nuts.Or maybe there is no such thing as reality.Or maybe it is the idea of a single independent reality that is false.(However, I am pretty sure that all of us there that night had paid with independently real money and gave up an independently real evening).You get the idea.I still thought it a worthwhile experience.My son and daughter have yet to forgive me for making them stay for the whole thing.Personally, I think it is clear that Glass has a certain kind of gift and some real talent.I am just not sure that I think repeating the music until one wants to commit violence is the correct compositional choice.

This work came after this book was published.

Here, we get a short history of the composer's life, his study at Julliard and with Nadia Boulanger (which is the most important study of his life, I gather).We also learn about the way he got started in music theater, his attitudes towards traditional opera (dead, dead, dead), and the fact that in his earlier days he drove a cab and worked as a plumber to keep body and soul together.I can relate!

The rest of the book tells us the background of three of his theater works: "Einstein on the Beach", "Satyargraha", and "Akhnaten".We also get the libretti and some sketches of the musical materials used in the works.The book also includes photos of the works and from his life.

If you are interested in Glass at all, this is a good place to get some information about the composer and a few of his major works.The book also discusses many of his other works in passing (through the mid-eighties).

All you ever wanted to know about Glass's music in one place
This book is the quintessential read for anyone interested in the composer be he the music lover realaxing to his recording of "Glassworks" or the avid "Glass-ite" with all five hours of "Einstein on the Beach" memorized (and I salute you). Whatever you wanted to know about Glass and especially the operas can be found here in the composer's own words.Like his music, Glass's book is fluid and encompassing.Seth Bedford (guiseppe@earthlink.net) Midland,TX.

Great explaination of the Portrait Trilogy!
Here is a spectacular explaination of Glass's Portrait Trilogy of operas (Einstein on the Beach, Satyagraha, and Akhnaten), including lots of greatinsight into the musical subtelties, staging, casting, performances, and production.It includes several excellent pictures (color and B&W) of Glass, his ensemble, and scenes from the three operas.Also, a rare explaination of the staging of Einstein!A good read for anyone interested in modern music ... Read more

Product Description
This new book presents an important part of Anchor Hocking's glass production, the dark "Forest Green" styles made from the late 1950s through the mid-1960s. The history and variety of Forest Green glassware is precisely documented here, covering seventeen established patterns, many boxed sets, and a myriad of accessory pieces such as relish sets, ashtrays, lamps, vases, pitchers, and tumblers. These and many other styles are beautifully presented in over 300 gorgeous color photographs. Many pages of historical documentation are included to make this the most comprehensive reference guide to Anchor Hocking's Forest Green glassware. ... Read more

Customer Reviews (3)

Forest Green Glass book
This is the second copy of the book I've purchased.My mom collects the Anchor Hocking green glass and ironically so does her best friend.They did not know each other when they first started their collections.I bought the first book for my mom.Her best friend was so excited to find out there was a book!So, I've now ordered it for her birthday.She will be ecstatic!The book seems to cover every facet of the collection, including all patterns, every dish, and some very unusual finds.I would recommend it to anyone who collects this glass.

Good representative book on Forest Green Glass
As a casual collector of Anchor Hocking forest green glass over 30 years, this was my first ever book I'd ever gotten (or seen) dedicated to my favorite type of glass. I was thrilled to see that nearly everything I had was represented and it gave me better background about the items.I used it that very weekend to recognize a small green vase I would otherwise have not known was anchor hocking (had gold paint on it).But don't use the prices as indications of the real value of the items, unless maybe yours are new-never-used still in original boxes.you couldn't sell your collection fo the prices listed I don't believe -- I'm still picking them up for just a few dollars at "junk" stores,and yard sales.And ebay items are never over $10.

Colonel Hopper does it again!
In Forest Green Glass, Philip L. Hopper has once again teamed up with photographer Bruce Walters to produce a well-researched and stunningly beautiful book on Anchor Hocking glassware. The documentation ismeticulous, and includes copies of old factory sheets, batch formulas forAnchor Hocking's green glass, and a section on confusing similarities.Besides precise research, Hopper's captions clearly identify each piece ofglassware, it's measurements or dimensions, the factory's stock number, andan estimated value for the piece. Since there are only a few items perpicture, the reader gets an enlarged view of each and every piece ofglassware, and doesn't have to flip back and forth to find out what it is.Combine the thorough research with Bruce Walter's creativity, and techniqueof underlighting colored glass, and you have one gorgeous publication.A21 gun salute for the Colonel and his cohort! ... Read more

Product Description
This folio features piano solo arrangements of 11 beautiful Philip Glass compositions from this highly acclaimed, Oscar-nominated film score: Choosing Life * Dead Things * Escape! * The Hours * I'm Going to Make a Cake * Morning Passages * The Poet Acts * Something She Has to Do * Tearing Herself Away * An Unwelcome Friend * Why Does Someone Have to Die? ... Read more

Customer Reviews (4)

Excellent accessible music
In short, Glass's music is very easy to play compared to other composers.It is still beautiful even if it is not virtuoso-material.Easy for anyone - from an intermediate pianist to an expert - to pick up and get a good deal of enjoyment out of.

Got what I was expecting
Nice big book, lovely music. This was a gift for my piano playing sister, a fan of the film, and she loved it.

Incredible
"The Hours" is one of my favorite movie and book of all time. Due to the depth of character analysis on three different individuals in three different time periods.

The complexity of the issues involved, the delicacy of writing, everything is impeccable.

Although an overal "depressing" film, one cannot overlook what a literature masterpiece it is from our time.

The accompanying soundtrack is incredible too. It just takes the viewer into the lives of these characters in such a seamless way. Beautiful.

Just about as good as it gets
The Amazon description doesn't say much, so here's the deal: This piano solo songbook contains 11 of the 14 tracks from the CD, "The Hours: Music from the Motion Picture Composed by Philip Glass." It leaves out two short tracks "'For your own benefit,'" "Vanessa and the Changelings," and regrettably "The Kiss", as the latter is one of the best tracks from the soundtrack.) Despite these omissions, however, the songbook is pretty awesome, a dream come true for those who love the movie "The Hours" and Glass' haunting score. Stephen Daldry's 2002 film entrances you, yes, and so does listening to Glass' score. Michael Cunningham's novel, on which the film is based, seduces you, too, into a portrait of the suffering of women, the modern and timeless female psyche, the powerful connection between life and art.

But playing the songs yourself allows you to immerse yourself to an even higher level of connectedness with the themes of the whole "Hours" enterprise, and specifically, relive the film and music of the film. The piano solo arrangements, by Michael Riesman, range from easy to moderately difficult. They are all in C-major, but have lots of flats and sharps. Those with two to three years of piano lessons/experience could pull it off, and many of the pieces are simple enough to sight read.

But the songs also lean toward moderately difficult to advanced. You'll frequently run into right-hand triplets to be played on top of left-hand eighth notes. A few are more on the advanced side -- "The Poet Acts" and "The Hours" -- as they require tricky fingering, large hands, and probably a lot of practice. Timing is mostly 3/4 and 4/4 measure time. A great thing is that each song tells you exactly how fast to play so you can set your metronome to it (i.e. a quarter note = 96 in "Dead Things"). The songs do not tell you when to pedal or fingering, which would've been helpful on some of the more difficult pieces.

This book would be great for piano students/teachers. The pieces are arranged so that it is possible to learn casually, yet beautiful and challenging enough to really take your time with and perfect.

As an added bonus, for sale separately, there is Michael Riesman's piano solo CD of "The Hours." And what you hear on that CD is exactly the same as the arrangements in this book! This book gives you the ENTIRE arrangements of the ENTIRE tracks. They do not cut the songs short! Pair up the CD with the songbook, and you have a piano student's dream. On top of that, you can sample the piano solo CD on Amazon: check in the Free Downloads section of Music. You can download three entire tracks from Riesman's solo album.

For $12.95, the book is a steal. On Amazon or Overstock, it's even cheaper! A great buy, as a lot of today's songbooks of this caliber, size, etc are 19.99$. The arrangement of "Morning Passages" is worth getting it alone. I would've rated the book 5 stars if not for the omission of "The Kiss," and if pedaling and fingering were in the book. ... Read more

Product Description

Paul Barnes presents a suite of seven Piano transcriptions derived from Philip Glass's 1991 opera Orphee<-i>. The suite was first performed in April 2001 at the Greenwich House Music School In New York City.

... Read more

Product Description
In over 310 beautiful color images, this comprehensive book displays the decorated pitchers and glasses produced by this famous Lancaster, Ohio, based glass company, from 1905 to 1935. Concentrating on Anchor Hocking's Depression era glassware, the book presents the different pitcher and glass shapes and the decorative treatments used to adorn them, ranging from hand-painted designs to etched patterns. Also included are the evolution of Anchor Hocking pitcher designs, simple methods to differentiate between Anchor Hocking glassware and similar items produced by other companies, many pages of historical documentation, and an index. The current market values are supplied in the captions. ... Read more

Product Description
Illuminates the aesthetics of a major American composer. ... Read more

Customer Reviews (1)

A needed insight on a modern masterpiece
John Richardson book explores every aspect of Philip Glass's Akhenaton: libretto, music, significance, archeology, etc.
Once I read that book, the opera I have known and listened to for more than 7 years became new again.
This book also puts Akhenaton into the perspective of the others main operas from Philip Glass.
An essential book about this opera and it's creator. ... Read more

Product Description

The fifth string quartet by the innovative Philip Glass was originally commissioned by David and Evelyne Lennette for the Kronos Quartet, and was first performed on February 15, 1992.

... Read more

Product Description
The first collection of writing about one of the most famous American houses to be built in the 20th century. This fascinating guidebook to a house that many have studied but few have seen is also an exciting and important architectural document. Photos and line drawings throughout. ... Read more

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Customer Reviews (10)

Coloring the mind and the soul thru a beautiful music book
I bought this book as my own birthday present and it came on time less than one week from the time I ordered it. Many lovers of indian classical music were waiting for the reprinting of this book for more than 20 years. The new printing is so beautiful and the concept of raga is all over the book as if instead of reading one is lstening to the music it conveys thru its colors and the beautiful binding. The book is more or less the same as the original edition with the exception of Panditji's foreword and his epilogue at the end of the book. I would love to have this book translated in Spanish as it is my mother tongue. I even would like to do the translation myself. I remember that I learn to play the sitar when I made photocopies of the sitar lessons on the book from the old Simon and Schuster edition that the local university library had.Thanks to it I not only learned to appreciate the music but also to learn to enjoy one of the most magnificient, heavenly sounding string instruments in the world. I even remember when I met Ravi Shankar at a concert he gave at the Rialto Center in Atlanta in 2001. It was like a dream come true. Also I am very happy for the price Amazon had for such a beautiful book and the good service. Namaste!

Instruction from the Pandit himself
After religiously listening to multiple Ravi Shankar recordings and looking at Sitars on Ebay for several months, I finally found an excellent deal on a "R.S. style" Sitar. Even before it arrived, I knew it was missing a few strings. I have been able to apply my experience with the guitar in restringing other stringed instruments (in the case of the chinese Liuqin) but the construction of the Sitar seemed wholly different and far more intimidating.

After finding out that "My Music, My Life" contained a manual for the maintenance and playing of the Sitar, I had no hesitation purchasing it for a chance to receive written instruction from the Pandit himself. The manual portion of the book has detailed information on the construction of the Sitar, the proper way to restring and tune it with Western notational equivalents and photographs of the resplendent Anoushka Shankar illustrating the proper techniques of holding and playing the instrument. At the end of all this is an explanation of the notational symbols used in Indian music that would be unfamiliar to the Western musician and multiple exercises and ragas employing this form of notation.

Of course that is only one half of the book. Chapter one gives a concise history of Hindustani and Karnatic music, drawing parallels and attempting to explain the differences between the Indian tradition and Western music, an explanation of the "Nine Sentiments" or colors of a Raga and a summary of the instruments employed in Indian music. The remaining chapters detail the pioneers of the Hindustani and Karnatic traditions, after which Ravi Shankar gives a short account of his life and experiences with his guru.

This is an excellent introduction to Indian music, and I felt honored to be shown insights into this rich and ancient tradition. The autobiography "Raga Mala" is a more detailed account of Ravi Shankar's life, but "My Music, My Life" will be an invaluable asset to the Westerner drawn to the exotic phrasing and drones of the Sitar.

Inspiration for modern musicians
I find this to be an amazing story of a remarkable musician. He tells of his life, the life of his teacher, the process that young Indian musicians used to learn their instruments-the teacher/mentor to student relationship that is so badly missing from today's music students ( in most cases.) On top of that there is much discourse on the forms of Indian music which, while technical and erudite, gives insight to what an deep and formidable system Karnatic and Hindustani music is.

Mandatory reading for his legions of fans throughout the country.
Now 86 years of age, Ravi Shankar continues to be revered world-wide for his proficiency and performances of the classical music of India. Originally published forty years ago, this new and updated edition of Ravi's autobiography "My Music My Life" is enhanced with an informative Foreword by Philip Glass and an Introduction by Yehundi Menuhin. Of special note is the new final chapter by Ravi that details his hope for the preservation of Indian classical music as embodied in his unique approach to his craft. Enhanced with the inclusion of never before published photographs, "My Music My Life" is a compelling memoir and an enthusiastically recommended for both academic and community library collections -- as well as mandatory reading for his legions of fans throughout the country.

A masterwork from a master
I own the first edition of this book.It is probably one of the more accessible introductions to Indian music, the Guru/Shishya relationship, and the sitar itself that you will find.Other books cover each of these areas in more detail, but this one is enough unless you really want to invest a LOT of time...in which case, you'd probably do better to find a guru of your own.The last of the four sections of the book is a pretty thorough introduction to the sitar and its technique, as well a very rudimentary introduction to several ragas.It will take you a long way along the path to mastery if you dedicate yourself to completely assimilating the material provided..but again, a teacher would still do a better job in the same amount of time.So...definitely get this book, in either edition, and begin a relationship with this remarkable man and his even more remarkable music. ... Read more

Customer Reviews (1)

Excellent for the Intermediate Student
This collection of piano pieces is excellent for the intermediate pianist who appreciates the minimalist compositions of Philip Glass.Included in the collection are selections from the soundtrack to "The Hours" (including the haunting "Dead Things"), the full Metamorphosis set, one from Einstein on the Beach, the simply beautiful "Opening," and a variety of others.Regretfully missing from this otherwise superb collection is Ballet #VIII from "In the Upper Room."

These compositions present a variety of challenges for the intermediate student, yet can be mastered in a relatively short time with practice.Due to the repetitiveness of Glass's work, his frequent use of arpeggios, and the fast tempo, these pieces are a nice complement to any traditional set of exercises.

A thoroughly enjoyable way to improve dexterity and speed while playing beautiful music! ... Read more

Customer Reviews (1)

This book rocks.
I cannow quitehonestly say with conviction that others observe us in far different but still similar yet thought provoking, light-shedding manner. Wim Mertens, I believe, has done just that. Man oh man, I love nothing more than digging into a good chapter of this book. Always insightful, Mertens very colorfully relates the cause, themes, and application of "American 'minimalist' music" in a straight foward and entertaining way. A "way" that most American authors I believe have yet to go. ... Read more

Customer Reviews (3)

A good portrait of Glass' works and life
A book on Glass' avant-garde minimalist compositional style surprised me as he nears his 70th birthday as a significant 20th century composer. Discovering Glass (b.1937) with "The Photographer (83)" CD some 15 years ago, Glass' self-titled website with a biography section does not do justice, especially during his formative years. Biographies show how one's developmental years translate into accomplishments as an adult and parent.

The book is divided into 4 parts, Part I Metamorphosis, Part II Instrumental Music, Part III Music for Theatre and Film, and Part IV Endgame. The book is a compendium of published articles. Part III is the largest section consuming about 1/2 the book, with most articles authored in the mid 80s to early 90s. In this section is a 4 pg article by Robert C Morgan (famed art critic) on "The Photographer," 84 revised 96. There are about 30 articles in the book with an average length of 10 pages. Three of the articles have musical score (analysis by Wes York, "Akhnaten"), a diagram (String Quartet No1), and lyrics (Hydrogen Jukebox) to describe Glass' creative process.

Part IV Endgame has a 1 pg bibliography, 11 pg listing of works by year for 3 decades, 7 pg discography, and 7 pg index. The book's printed ISBN is not current and the book is not listed on the publisher's website. The dust jacket has been rebadged ISBN 0-8256-7246-5, as the publisher's trade books was divested to musicsales dot com, London.

My favorite part of this book is a 25-page interview by Ms Ev Grimes, PhD about Glass' musical education in Section I, p12-36, which has been further edited by the composer and the author. Ev Grimes is a nationally acclaimed producer of documentaries on musicians and cultural topics and she was a NPR radio commentator back in the 70s. The interview / documentary was commissioned by the Yale School of Music (Oral History American Music project). I found Glass's candid comments about his family, early flute teacher, inner city Baltimore high school, U Chicago and NYC's Juilliard quite interesting (covering 1940s-50s). The author claims that this is probably the most comprehensive interview of Glass growing up that exists and is a book exclusive.

In p15-31, Philip, middle son of a Lithuanian immigrant Jew and skilled mechanic, dropped out of a southern Baltimore, Maryland high school, challenged by examination entrance requirements into U of Chicago at age 15 (1952-6) majoring in math and philosophy earned an AB. In the south Chicago neighborhood, extemporaneous Jazz music clubs exposed him to non-classical music. Applying to Juilliard at 19, he expanded his compositional skills. A well-rounded individual, he worked during summers as a crane operator for Bethlehem Steel near Baltimore to help pay tuition. Juilliard's tiny composition department at the time in 1957-62, was focused on experimental modern American music such as Copeland and Hindemith. So Glass got a lot of individual freedom to compose and expressed his talent with 75 pieces. As the composer, he did not have to play them. It was encouraged to recruit fellow students for its performance, including Steve Reich also a minimalist, who he met in Juilliard's friendly cafeteria.

Juilliard's environment emphasized performance, as opposed to getting a teaching credential, a musical trade school if you will. This naturally led to music score for NYC film projects. Writing music on staff became as natural as eating with a fork. Earning a MA in 1962 (4 years) at 25 years of age, he co-won the BMI Award for Young Composers.

After graduation Glass, under a Ford foundation grant, went to high schools as a composer-in-residence, assigned to Pittsburgh. For two years, starting in 1961, he trained up-and-coming students imitating Julliard's performance methodology. He saved his stipend to further his musical career in Europe and beyond.

Although skilled in classical composition, he went to Paris to study under the renown Ms Nadia Boulanger as a Fulbright scholar during 1963-5. Boulanger made him study counterpoint and harmony by analyzing Bach (WTC), Mozart and Beethoven to the nth degree often by voice. By the time he completed his "post-doc," Glass was 28 and sick of the classical school.

As described in a Tricycle article p316-27, Glass' initiation to his signature minimalistic style occurred while in Paris receiving an assignment to translate Indian music scored in an Asian numbered system to a Western musical score for the sitar legend Ravi Shankar in the film, "Chappaqua." This exposed him to Eastern music with different keys, melodies and rhythms. Essentially smitten, Glass and his wife hitchhiked across Egypt and the Middle East to India spending a year sabbatical learning world music and a religious conversion to Buddhism and vegetarianism [see Yahoo for this bio extension]. He returned to NYC in 1967 at 30 and a started reducing a minimalistic style to practice, struggled initially two-timing as a cabbie, plumber, day laborer to make ends meet and finally at 40, as they say in Hollywood, the rest is history.

The book has essays on Glass's most famous initial work, "Einstein on the Beach" a 4+-hour opera (76), third opera on Egyptian pharaoh mythology, "Akahathen" (84), and a tribute to Mohandas Gandhi efforts on civil rights in the "Satyagraha" (80), second opera.

The article does not cover Glass' adult personal life (see Wikipedia and NNDB) which include 4 marriages, most significant with his first wife of 15 years to JoAnne Akalaitis, theater director of Mabou Mines Theatre which they cofounded, m. 1965, div. 1980, son Zachary (b 1969) who followed him in music contributing to a few productions, but not with distinction as a songwriter, and daughter Juliet (PhD Art History John Hopkins, b 1971). It appears that his son, now 36, was not enamored by excellence probably due to his workaholic parent's neglect. Glass is currently married to trophy wife Holly Critchlow (restaurant manager, m. 2001), and lives in East Village (Bowery), NYC and a primitive cabin in a Nova Scotia village in Canada.

Ehhhh, it was okay....
That's about it - this is an okay collection of okay essays.Some are quite good, most are quite average, a few are not so good at all.The layout is also not very helpful - they are not chronologically arranged, but instead are put in some other, non-linear fashion.I am a *huge* fan of Glass, and am generally excited by anything about him - even just seeing his name printed somewhere or hearing his music on a commercial - but I was only whelmed by this book, and wouldn't necessarily recommend it to people.Seems as though the compiler could have found much better articles to include - surely in the years covered there were much more vibrant and intelligent writers writing about Glass.

If you are a diehard fan, or if you need some research material collected in one spot, go for this book. Otherwise, well, take your chances.

Hoscotch in additive land
Although this sort of collection is sorely needed, the format is not well thought through.Had a chronological approach been taken when assembling the various essays, an easier read could be had by all. ... Read more

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