Latest Philip Glass Quotes from Interviews

• I'd say it's just part of the world that we live in; it's part of the music world.

  Philip Glass

  Mundo

  Fuente: thomasmoore.info

• Casi no hay contenido en términos de lenguaje. No me gusta utilizar el lenguaje para transmitir significado. Prefiero utilizar imágenes y música.

  Philip Glass

  Uso, Lengua, Término

  Fuente: thomasmoore.info

• Akhenatón es un personaje oscuro y misterioso. No sabemos mucho acerca de él - mucha información sobre él se perdió. Pero obviamente fue una especie de iconoclasta de su tiempo. Supongo que me atrae la gente así. Como [Albert] Einstein, que cambió radicalmente nuestra forma de pensar sobre el mundo en que vivimos.

  Philip Glass

  Carácter, Oscuridad, Pensamiento

  Fuente: thomasmoore.info

• I like the idea that [Mahatma] Gandhi is appearing now in an opera hall in all these different places, and people kind of think about it again.

  Philip Glass

  Pensamiento, Ideas, Personas

  Fuente: thomasmoore.info

• Me lleva un año escribir una ópera, pero en realidad no es un año de escritura. La ópera] Akhenatón encaja con Gandhi y Einstein, así que en cierto modo forman una trilogía. Elegí a personas que eran personajes de gran envergadura, que cambiaron el mundo en el que vivían casi por la fuerza de su personalidad y su inventiva. Personas a las que no sólo admiro, sino que creo que son admirables.

  Philip Glass

  Escritura, Carácter, Pensamiento

  Fuente: thomasmoore.info

• Por último, en última instancia, escribes música para ti mismo. Es decir, necesito un público, necesito gente que toque, necesito todo lo demás. No trabajo aislado. Pero finalmente el hombre que escribe la música está solo. Y tengo que responder a esos criterios que son casi como necesidades interiores o respuestas interiores.

  Philip Glass

  Escritura, Media, Hombres

  Fuente: thomasmoore.info

• I was a regular kind of academic music student. I was at Juilliard. I had to study all the contemporary music of the time, and changing that language very radically was just a sign or a signal that I was going to try to do something very different. I find that that's what I feel closest to. I found no real inner response in me in a non-tonal language.

  Philip Glass

  Real, Trying, Different

  Fuente: thomasmoore.info

• I don't think I'm capable of making radical changes, but over a period of four or five years you can perceive very big changes, and they seem rather small at the time.

  Philip Glass

  Thinking, Years, Radical Change

  Fuente: thomasmoore.info

• Theatrical times are different from concert times, to put it simply. Taking a figure like [Mahatma] Gandhi and setting him on a stage requires thinking about what theater is about and what the whole experience is about and what we're trying to communicate in that way, so you get into certain less abstract considerations.

  Philip Glass

  Pensar, Intentar, Camino

  Fuente: thomasmoore.info

• Creo que, en cierto modo, formo parte de todo un movimiento generacional. Creo que mucha otra gente desde entonces y durante este tiempo se ha interesado por escribir lo que todavía podemos llamar música experimental. No es música comercial. Y es realmente una música de concierto, pero una música de concierto para nuestro tiempo. Y queriendo encontrar al público, porque hemos descubierto que el público está realmente ahí. Eso quedó muy claro con Einstein on the Beach.

  Philip Glass

  Playa, Escribir, Pensar

  Fuente: thomasmoore.info

• I, as a young guy getting out of music school, I didn't like the prospect of spending my life writing music for about 200 people.

  Philip Glass

  Writing, School, People

  Fuente: thomasmoore.info

• The generation of composers that are just preceded me, people like [Karlheinz] Stockhausen, [Pierre] Boulez, and, well, [John] Cage for that matter,[Morton] Feldman ... That was a kind of experimental music that was very isolated. It had no real public.

  Philip Glass

  Real, People, Cages

  Fuente: thomasmoore.info

• I'd say the differences are more interesting than the similarities at this point. Certainly no one would ever mistake my music for Steve's [ Reich].

  Philip Glass

  Mistake, Differences, Interesting

  Fuente: thomasmoore.info

• I've been working in theater, really, since about 1965. I started working with the Mabou Mines about then, and in a way I've always worked in the theater, but it's never been a main part of my work. And it wasn't until Einstein that I kind of shifted into high gear with theater, working with Bob, with Bob Wilson. And since then I find it a very attractive form to work in. It's just an extension of my work.

  Philip Glass

  Gears, Bob, Way

  Fuente: thomasmoore.info

• Satyagraha is an opera which I wrote for the Netherlands Opera, so it uses an orchestra of around fifty, a chorus of forty, and there are about seven soloists. The opera ... Satyagraha means truthful, so it was a name [Mahatma] Gandhi used to describe his civil disobedience movement.

  Philip Glass

  Mean, Names, Fifty

  Fuente: thomasmoore.info

• The hardest thing about traveling is that mostly you get to a point - and it always happens on every tour - where you can choose between eating and sleeping, but you can't do both.

  Philip Glass

  Sleep, Eating, Hardest

  Entrevista con Bryce Dessner, www.interviewmagazine.com. 3 de febrero de 2014.

• Paso de un medio a otro con mucha frecuencia. En lugar de tomarme un descanso de la escritura, escribo en un medio diferente o de una manera diferente o con un propósito diferente, de modo que en realidad no dejo de escribir, simplemente me dedico a otra cosa. Por ejemplo, pasar de una gran sinfonía a una pieza para piano es genial y muy refrescante. Y luego pasar de eso a un gran concierto y tener que salir a tocar.

  Philip Glass

  Escritura, Obra, Sinfonía

  Entrevista con Bryce Dessner, www.interviewmagazine.com. 3 de febrero de 2014.

• Mi mayor problema con la escritura es cuando escribo piezas para piano, porque luego tengo que aprender a tocarlas, lo que a veces no es tan fácil.

  Philip Glass

  Escribir, Tocar, Piano

  Entrevista con Bryce Dessner, www.interviewmagazine.com. 3 de febrero de 2014.

• But the difference between the little pieces and the big pieces - I'm not actually sure which are the little pieces. With some of the big pieces, it's a lot of musical running around, whereas the little pieces, you can say everything you want to say.

  Philip Glass

  Running, Differences, Musical

  Interview with Bruce Dessner, www.interviewmagazine.com. February 3, 2014.

• I find that people can’t find you. It’s kind of quiet. When I go to a city, I can almost always get a piano if I need one. So there’s something nice about being on the road and focusing on something you want to do.

  Philip Glass

  Nice, Cities, Piano

  Entrevista con Bryce Dessner, www.interviewmagazine.com. 3 de febrero de 2014.

• I don't know that I make a big distinction between the big pieces and the little pieces, because I don't experience them in that way. I mean, by the same token, you're out touring with a band and then you're writing string quartets, and in a funny way, isn't it all the same, in a way? It's all just music.

  Philip Glass

  Writing, Mean, Band

  Entrevista con Bryce Dessner, www.interviewmagazine.com. 3 de febrero de 2014.

• So the real drama for me is balancing live performances and writing, and one of the ways I balance it is I write in hotel rooms. That's not exactly balancing. Actually, writing in hotel rooms means that I'm refusing to deal with the problem.

  Philip Glass

  Real, Drama, Writing

  Interview with Bruce Dessner, www.interviewmagazine.com. February 3, 2014.

• Si no tienes una base sobre la que hacer la elección, entonces no tienes un estilo en absoluto. Se trata de una serie de accidentes.

  Philip Glass

  Opciones, estilo, bases

  "Ira Glass entrevista a su primo, el compositor Philip Glass". "Fresh Air" con Ira Glass, www.npr.org. 31 de enero de 2012.

• I consider the first 20 performances just learning the piece. Think about it this way: If you think about a pianist who plays a Schubert sonata through his whole lifetime - if you listen to Rubenstein or Horowitz playing their repertoire later in their life, you understand the richness with which they play that music, and how differently they must have played it when they were younger.

  Philip Glass

  Thinking, Play, Pieces

  "Ira Glass entrevista a su primo, el compositor Philip Glass". www.wbur.org. 21 de septiembre de 1999.

• Para llegar a un estilo personal, hay que tener una técnica para empezar.

  Philip Glass

  Orden, Estilo, Técnica

  "Ira Glass entrevista a su primo, el compositor Philip Glass". www.wbur.org. 21 de septiembre de 1999.

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