Talking Music: Conversations with John Cage, Philip Glass, Laurie Anderson, & Five Generations of American Experimental Composers  – ★★★★
Experimental music is defined as “any music that pushes existing boundaries and genre definitions“. Though the term originated in the 1950s, the US of the 1960s saw certain music artists emerging that can be said to be loosely associated with the “experimental music” movement. This book by American composer and educator William Duckworth compiles the author’s interviews with experimental composers and performers from the US, including John Cage, Philip Glass, Lou Harrison, Conlon Nancarrow, Meredith Monk and Laurie Anderson. The interviews shed light on the artists’ backgrounds, major works and inspirations, and many of the interviews are frank, interesting and inspirational.
“The activity of the artist is about transcending the ordinary world. The world of appearances” (Philip Glass).
My previous music post highlighted American composer Philip Glass, and I am now sharing his beautiful, minimalistic composition Mad Rush. This piece was first written by Glass in 1978 for an organ of the cathedral of St. John the Divine (New York) for the occasion of the Dalai Lama’s first public address in the US in 1979. It has since been re-recorded and titled Mad Rush (which can now be viewed as encapsulating our franticmodern lifestyles). I love the way this piece intertwines the themes of peace and chaos – meditative and sublime. Philip Glass said that that these two contrasting themes represent “the play of the wrathful and peaceful deities in Tibetan Buddhism“.
American composer Philip Glass (31 January 1937-), known for his minimalism and “repetitive structures” in music, is 85 years old today and I am taking this opportunity to share one of his greatest work – a film score to Stephen Daldry’s film The Hours .