Undertow, set in an American South untouched by time, is a uniquely American dramatic thriller from director David Gordon Green starring Jamie Bell, Josh Lucas, Dermot Mulroney, and newcomer Devon Alan. A tale of violent legacies between two generations of brothers, Undertow depicts what happens when a hardworking father raising two sons without their mother is paid an unexpected visit by his older ex-convict brother who is looking to settle an old score.
Orange Mountain Music presents the world premiere recording of Philip Glass' The Passion of Ramakrishna. Commissioned by the Pacific Symphony and premiered in 2006 during the opening of the Segerstrom Center for the Arts in Orange County, Glass' 45 minute oratorio, written for soloists, chorus and large orchestra, is a passion play and a tribute to 19th Century Indian spiritual leader Sri Ramakrishna. The work portrays his death with the chorus taking up the voice of Ramakrishna himself and the soloists are those of his loved ones, doctor and disciples. Maestro Carl St.Clair, a longtime champion of the music of Philip Glass, leads the Pacific Symphony, Pacific Chorale and soloists Christopheren Numura, Janice Chandler Eteme, Kevin Deas, I-Chin Feinblatt and Nicholas Preston.
Fantasy, adventure, magic, monsters, fairies, witches, kings and queens are all part of the world created by Caldecott Medal winning Beni Montresor and acclaimed composer Philip Glass in this children's opera-ballet that was originally created for the world's most famous opera house, Teatro alla Scala in Milan, Italy. The piece was based on Montresor's children's book, The Witches of Venice.
Glass's most famous works are often large scale and very serious in nature. His works for the stage, screen and opera house such as Einstein on the Beach, Symphony No. 6 "Plutonian Ode" and his famous Koyaanisqatsi all fit that description.
How do you write music for a story that encompasses the 20th Century…? A story that also combines elements of caprice and destiny. And at its center a story that asks whether war is inevitable, unavoidable, part of human nature. This is my third collaboration with Philip Glass, and I cannot think of who else could have written the music. I once told Philip that he creates a feeling of existential dread better than anyone else I know of. And this is a movie filled with existential dread. I like to think of it as music for the apocalypse, where the apocoalypse is not so much the end of the world but just more of what we've seen before, more of the same.
In 1990 Philip Glass was asked by director Bernard Rose to compose a score for his film Candyman. Rose, a young director had an intriguing film, Paperhouse to his credit and the Candyman story, (written by Clive Barker), was a tale of contemporary myth and horror that possessed a truly frightening psychological plot. Glass accepted this task and wrote a "gothic" score for chorus and pipe organ. Somewhere down the line the film's producers and Clive Barker became dissatisfied with Rose's work, probably because he wasn't creating enough overt gore and horror and relieved him of the job of finishing the film.
The Photographer is a three-part mixed media performance accompanied by music (also sometimes referred to as a chamber opera) by composer Philip Glass. The libretto is based on the life and homicide trial of 19th-century American photographer Eadweard Muybridge. Commissioned by the Holland Festival, the opera was first performed in 1982 at the Royal Palace in Amsterdam.
Valentina Lisitsa's double-CD of the music of Philip Glass is a generous collection of excerpts drawn from his film music, including The Hours, The Truman Show, and Mishima, as well as from concert works, such as Glassworks, How Now, The Metamorphosis, and Mad Rush, among other selections. While Glass achieved fame through his early ensemble pieces, where he developed a bright-edged sound through the use of electronic keyboards, his minimalism is easily adaptable to the piano, though the characteristic ostinato patterns that gave his earlier scores a fierce energy are somewhat softened in the piano's blander sonorities and more introspective tone. Lisitsa has found a niche in playing minimalist music, as she demonstrated on her successful 2014 album, Chasing Pianos, where she explored the film music of Michael Nyman. This collection is a natural follow-up, and Lisitsa's aptitude for Glass' style is shown in her steady, rocking rhythms and even dynamics, as well as in her poignantly lyrical expressions.