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This song, never to be finished, is of infinite beauty. It is called ''Mad Rush'': | This song, never to be finished, is of infinite beauty. It is called ''Mad Rush'': | ||
− | + | {{Audio|name=MadRush.mp3}} | |
''[Mad Rush] demonstrates Glass's turn to more traditional models: the composer added a conclusion to an open-structured piece'', [[Wikipedia]] tells us [http://tinyurl.com/5u92m2q], ''which'', it continues with the words of Steffen Schleiermacher ''"can be interpreted as a sign that he [had] abandoned the radical non-narrative, undramatic approaches of his early period.'' | ''[Mad Rush] demonstrates Glass's turn to more traditional models: the composer added a conclusion to an open-structured piece'', [[Wikipedia]] tells us [http://tinyurl.com/5u92m2q], ''which'', it continues with the words of Steffen Schleiermacher ''"can be interpreted as a sign that he [had] abandoned the radical non-narrative, undramatic approaches of his early period.'' | ||
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* Comments [[Blog:Fabrice/Mad_Rush|from my blog]]. | * Comments [[Blog:Fabrice/Mad_Rush|from my blog]]. | ||
+ | * [http://www.youtube.com/watch?v=JthxVHkRT9Y#t=2m27s Interpreted by Glass himself] (also [http://www.youtube.com/watch?v=lhqSAo2HrOc with the organ]). | ||
* [http://www.youtube.com/watch?NR=1&v=qgg-uE53DNY Interpreted by Bruce Brubaker]. | * [http://www.youtube.com/watch?NR=1&v=qgg-uE53DNY Interpreted by Bruce Brubaker]. |
for those who are interested in the Tibetan iconography of Tibetan Buddism, you might think of it as the play of the wrathful and peaceful deities...
I was asked to compose a piece of somewhat indefinite length said Philip Glass remembering his performance for the first public appearance of the 14th Dalai Lama in New York City, not actually a problem for me [1].
This song, never to be finished, is of infinite beauty. It is called Mad Rush:
[Mad Rush] demonstrates Glass's turn to more traditional models: the composer added a conclusion to an open-structured piece, Wikipedia tells us [2], which, it continues with the words of Steffen Schleiermacher "can be interpreted as a sign that he [had] abandoned the radical non-narrative, undramatic approaches of his early period.