Philip Glass Quotes
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What came to me as a revelation was the use of rhythm in developing an overall structure in music.
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If you don't have a basis on which to make the choice, then you don't have a style at all. You have a series of accidents.
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Akhnaten is kind of a dark, kind of mysterious character. We don't know a lot about him - a lot of information on him was lost. But he obviously was a kind of iconoclast of him time. I guess I'm attracted to people like that. Like [Albert] Einstein also, who radically changed our way of thinking about the world we live in.
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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].
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You get up early in the morning and you work all day. That’s the only secret.
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It takes about a year to write an opera for me, but not a really a year of writing. I'm touring at the same time, and I'm playing, sometimes doing smaller projects.[The opera] Akhnaten fits in with Gandhi and Einstein, so that forms a trilogy in a way.I picked people who were these kind of larger than life characters, who kind of changed the world they lived in by almost the force of their personality and their inventiveness. People that I think not only do I admire but I think they're admirable people.
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The problem with listening, of course, is that we don't. There's too much noise going on in our heads, so we never hear anything. The inner conversation simply never stops. It can be our voice or whatever voices we want to supply, but it's a constant racket. In the same way we don't see, and in the same way we don't feel, we don't touch, we don't taste.
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What you hear depends on how you focus your ear. We're not talking about inventing a new language, but rather inventing new perceptions of existing languages.
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In order to arrive at a personal style, you have to have a technique to begin with.
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I've been called a minimalist composer for more than 30 years, and while I've never really agreed with the description, I've gotten used to it.
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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.
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I travel the world, and I'm happy to say that America is still the great melting pot - maybe a chunky stew rather than a melting pot at this point, but you know what I mean.
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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.
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If you remember your lineage, you will never feel lonely.
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You practice and you get better. It's very simple.
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I shift between mediums very frequently. Instead of taking a break from writing, I just write in a different medium or in a different way or for a different purpose, so that I don't actually stop writing - I just go to something else. Like going from a big symphony to a piano piece is great and very refreshing, I find. And then going from that to a big concerto, and then having to go out and play.
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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.
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The work I've done is the work I know, and the work I do is the work I don't know. I don't know what I'm doing.
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A new language requires a new technique. If what you're saying doesn't require a new language, then what you're saying probably isn't new.
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I always knew what I wanted to do and I did it.
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I'm interested in what happens to music when other people use it. Whereas there are composers who don't like anyone to touch their music, I think people should because they do things I can't think of.
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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.
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What I've noticed is that people who love what they do, regardless of what that might be, tend to live longer.
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I think it's a great handicap to be discovered at an early age. I didn't have that burden of early success. I had the much more livable and durable career where success comes late, and comes slowly, and you ease into it. So by the time it comes, you're ready to deal with it.
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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.
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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.
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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.
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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.
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I don't know what I'm doing and it's the not knowing that makes it interesting.
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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.
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