Rarely is there anything by or dedicated to composer Philip Glass that I can’t fall in love with. Beck’s 20-minute contribution, “NYC: 73-78,” on the soon-to-be-released Rework: Philip Glass Remixed (Oct 23) makes it all too easy to melt into my cubicle rolling chair.
Take a listen; you will not regret it.
(h/t Open Culture)
We’ve got to get Krista Tippett and Philip Glass in a room together soon!
Tuesday Evening Melody: Philip Glass “The Play of the Wrathful and Peaceful Deities”
by Trent Gilliss, senior editor
There’s no other composer quite like him. Philip Glass summons the inner strength — the power and majesty — and the vulnerable adult who is always a child inside. His music stirs something primal; he reminds of us of our vulnerability. His music compels us to remember how profound we all can be, even when we can’t feel or say one remarkable word.
I’ve been moved by “Mad Rush” on several occasions, but I had no idea of the back story until now. It was originally written for the organ, which I encourage you to listen to, but the reason it was written is just as interesting. Glass tells the story this way:
“In 1979, most of us didn’t really know very much about His Holiness the Dalai Lama. We weren’t sure exactly when he would arrive, though there was a time specified. I was asked to compose a piece of somewhat indefinite length. Not actually a problem for me. I played in the organ; I’ve become very comfortable with this as a piano piece.
It eventually acquired the name “Mad Rush,” which had nothing to do with its original purpose but… For those who are interested in the Tibetan iconography of Tibetan Buddhism, you might think of it as the play of the wrathful and peaceful deities.”
You can watch Glass’ performance of “Mad Rush” at the Garrison Institute on April 13, 2008 at the Cathedral Church of Saint John the Divine in New York City.
(Hats off to findout for reminding me of this exquisite piece!)
