Bradley PittmanFrom the interview series Music with Roots in the Aether. Discussions include topics ranging from Glass' compositional style to life as an artist in the modern world.
Through his operas, his symphonies, his compositions for his own ensemble, and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg, Woody Allen to David Bowie, Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times.
The operas – “Einstein on the Beach,” “Satyagraha,” “Akhnaten,” and “The Voyage,” among many others – play throughout the world’s leading houses, and rarely to an empty seat. Glass has written music for experimental theater and for Academy Award-winning motion pictures such as “The Hours” and Martin Scorsese’s “Kundun,” while “Koyaanisqatsi,” his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble, may be the most radical and influential mating of sound and vision since “Fantasia.” His associations, personal and professional, with leading rock, pop and world music artists date back to the 1960s, including the beginning of his collaborative relationship with artist Robert Wilson. Indeed, Glass is the first composer to win a wide, multi-generational audience in the opera house, the concert hall, the dance world, in film and in popular music – simultaneously.
He was born in 1937 and grew up in Baltimore. He studied at the University of Chicago, the Juilliard School and in Aspen with Darius Milhaud. Finding himself dissatisfied with much of what then passed for modern music, he moved to Europe, where he studied with the legendary pedagogue Nadia Boulanger (who also taught Aaron Copland , Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar. He returned to New York in 1967 and formed the Philip Glass Ensemble – seven musicians playing keyboards and a variety of woodwinds, amplified and fed through a mixer.
The new musical style that Glass was evolving was eventually dubbed “minimalism.” Glass himself never liked the term and preferred to speak of himself as a composer of “music with repetitive structures.” Much of his early work was based on the extended reiteration of brief, elegant melodic fragments that wove in and out of an aural tapestry. Or, to put it another way, it immersed a listener in a sort of sonic weather that twists, turns, surrounds, develops.
There has been nothing “minimalist” about his output. In the past 25 years, Glass has composed more than twenty operas, large and small; ten symphonies (with others already on the way); two piano concertos and concertos for violin, piano, timpani, and saxophone quartet and orchestra; soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morris’s documentary about former defense secretary Robert McNamara; string quartets; a growing body of work for solo piano and organ. He has collaborated with Paul Simon, Linda Ronstadt, Yo-Yo Ma, and Doris Lessing, among many others. He presents lectures, workshops, and solo keyboard performances around the world, and continues to appear regularly with the Philip Glass Ensemble.
Philip Glass Rare Interview (1976)Bradley Pittman2018-04-24 | From the interview series Music with Roots in the Aether. Discussions include topics ranging from Glass' compositional style to life as an artist in the modern world.
Through his operas, his symphonies, his compositions for his own ensemble, and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg, Woody Allen to David Bowie, Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times.
The operas – “Einstein on the Beach,” “Satyagraha,” “Akhnaten,” and “The Voyage,” among many others – play throughout the world’s leading houses, and rarely to an empty seat. Glass has written music for experimental theater and for Academy Award-winning motion pictures such as “The Hours” and Martin Scorsese’s “Kundun,” while “Koyaanisqatsi,” his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble, may be the most radical and influential mating of sound and vision since “Fantasia.” His associations, personal and professional, with leading rock, pop and world music artists date back to the 1960s, including the beginning of his collaborative relationship with artist Robert Wilson. Indeed, Glass is the first composer to win a wide, multi-generational audience in the opera house, the concert hall, the dance world, in film and in popular music – simultaneously.
He was born in 1937 and grew up in Baltimore. He studied at the University of Chicago, the Juilliard School and in Aspen with Darius Milhaud. Finding himself dissatisfied with much of what then passed for modern music, he moved to Europe, where he studied with the legendary pedagogue Nadia Boulanger (who also taught Aaron Copland , Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar. He returned to New York in 1967 and formed the Philip Glass Ensemble – seven musicians playing keyboards and a variety of woodwinds, amplified and fed through a mixer.
The new musical style that Glass was evolving was eventually dubbed “minimalism.” Glass himself never liked the term and preferred to speak of himself as a composer of “music with repetitive structures.” Much of his early work was based on the extended reiteration of brief, elegant melodic fragments that wove in and out of an aural tapestry. Or, to put it another way, it immersed a listener in a sort of sonic weather that twists, turns, surrounds, develops.
There has been nothing “minimalist” about his output. In the past 25 years, Glass has composed more than twenty operas, large and small; ten symphonies (with others already on the way); two piano concertos and concertos for violin, piano, timpani, and saxophone quartet and orchestra; soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morris’s documentary about former defense secretary Robert McNamara; string quartets; a growing body of work for solo piano and organ. He has collaborated with Paul Simon, Linda Ronstadt, Yo-Yo Ma, and Doris Lessing, among many others. He presents lectures, workshops, and solo keyboard performances around the world, and continues to appear regularly with the Philip Glass Ensemble.Philip Glass - Beauty and the Beast (arr. piano by Michael Riesman)Bradley Pittman2020-05-23 | Overture 0:00 Beauty Goes To The Castle 1:18 Dinner At The Castle 7:45 A Walk In The Garden 12:00 The Beast’s Trust 22:01 Avenant’s Passion 26:23 The Mirror 30:29 The Pavilion 34:29 The Metamorphosis 38:22Philip Glass - 1000 Airplanes on the Roof (full album)Bradley Pittman2020-04-23 | 1000 Airplanes on the Roof is a so called “science fiction music drama” with music by Philip Glass, story by David Henry Hwang and holographic set projections by Jerome Sirlin’s. And an incredible lead vocal performance from Linda Ronstadt.
Tracklist: 0:00 1000 Airplanes on the Roof 5:55 City Walk 8:08 Girlfriend 14:05 My Building Disappeared 15:51 Screens of Memory 19:24 What Time is Grey 21:41 Labyrinth 27:51 Return to the Hive 32:42 Three Truths 36:32 The Encounter 45:14 Grey Cloud Over New York 47:05 Where Have You Been asked The Doctor 51:00 A Normal Man Running
Music by Philip Glass. Text by David Henry Hwang.
CAST: Actor (speech only) S; fl (pic, bcl, wind syn). fl (ssx). ssx (asx, tsx)/ 2 syn
COMMISSION: Commissioned by the Donau Festival Niederoesterreich, the American Music Theather Festival, Philadelphia, PA and Berlin, Cultural City of Europe 1988
PREMIERE: July 15, 1988 at the Vienna International Airport, Hangar No. 3
SYNOPSIS: The character “M” recalls encounters with extra-terrestrial life forms, including their message, “It is better to forget, it is pointless to remember. No one will believe you.” Are the surrealistic details an accurate recollection of a voyage through space, part of a drug-induced nightmare, or the beginning of a mental breakdown?JOHN BILLY by David Foster Wallace (Narration)Bradley Pittman2019-04-30 | This is my reading of the short story "John Billy" by David Foster Wallace, from his book Girl With Curious Hair.
Check out my narration of "Good Old Neon" by David Foster Wallace: youtu.be/9f-Q9GHmJGcGame of Thrones Theme (if Philip Glass wrote it)Bradley Pittman2017-09-07 | Because every theme song deserves the Glass treatment. For solo piano.Wombie Ferguson Live StreamBradley Pittman2016-08-27 | ...ARIANNE 2 - TWOW Sample Chapter NarrationBradley Pittman2016-08-10 | A reading of the second Arianne sample chapter from the upcoming The Winds of Winter by George R.R. Martin, book 6 of A Song of Ice and Fire. Hope you enjoy!
Art Credit: Lauren-Oh @ http://lauren-oh.deviantart.com/art/Arianne-Martell-179969748ARIANNE 1 - TWOW Sample Chapter NarrationBradley Pittman2016-08-03 | A reading of the first Arianne sample chapter from the upcoming The Winds of Winter by George R.R. Martin, book 6 of A Song of Ice and Fire. Hope you enjoy!
Art credit: Rodrigo W.R. Rezende @ http://gameofthronesfanart.com/post/148351134201/tyrion-lannister-by-rodrigo-w-r-rezendeShow-runners Dave Benioff and D.B. Weiss Share Their Favorite Game of Thrones ScenesBradley Pittman2016-06-27 | GoT show-runners D&D give us insight about some of the most beloved scenes from the HBO series! Just when you thought you couldn't love Grey Worm and Missandei even more!! #NoDickNoProblemSER BARRISTAN - TWOW Sample Chapter NarrationBradley Pittman2016-06-25 | A reading of the first Barristan chapter from the upcoming The Winds of Winter by George R.R. Martin. Found in the back of the paperback version of A Dance With Dragons. Hope you enjoy!ALAYNE [Sansa Stark] - TWOW Sample Chapter NarrationBradley Pittman2016-06-24 | A reading of Alayne I from the upcoming The Winds of Winter by George R.R. Martin. Hope you enjoy!
Transcript can be found here: angrygotfan.files.wordpress.com/2016/06/the-winds-of-winter.pdfMERCY [Arya Stark] - TWOW Sample Chapter NarrationBradley Pittman2016-06-11 | A reading of the Mercy sample chapter, following Arya Stark as she joins a mummer's troupe for her latest assignment as a Faceless Man. Hope you enjoy! (also, hilariously awkward chapter to read out loud, so I encourage you to try it one day)
Subscribe for more readings of TWOW sample chapters and other stories I find interesting. It will never be annoying, spammy, or clickbaity, I promise.THEON - TWOW Sample Chapter NarrationBradley Pittman2016-06-04 | A reading of the completely awesome Theon sample chapter from the upcoming The Winds of Winter by George R. R. Martin. It was a pleasure to read, hope you enjoy!