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▀█████▓▌ FORSAKEN Proudly Presents ▐▓█████▀
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▓▄██ ██▄▓
▓█▀▄▄ Artist : Philip Glass & Robert Wilson: The Philip Glass ▄▄▀█▓
▐▓▌▐█▌ Album : Monsters of Grace ▐█▌▓▌
▐▀▄██ Label : Orange Mountain Music ██▄▀▌
▄███▌ Genre : Classical ▐███▄
▀███▌ Source : CD ▐███▀
▐▄▀██ Street Date : 2007-00-00 ██▀▄▌
▐▓▌▐█▌ Quality : 642 kbps / 44.1kHz / 2 channels ▐█▌▐▓▌
▓█▄▀▀ Encoder : FLAC 1.3.1 ▀▀▄█▓
▓███ Size : 340.40 MB ███▓
▀ ▀█▌ Time : 71:02 min ▐█▀ ▀
▓▄███ Url : http://philipglass.com ███▄▓
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▄██▀ ▀██▄
██▌ 1. Where Everything is Music 13:29 ▐██
██▌ 2. The Needle 3:58 ▐██
██▌ 3. Don't Go Back to Sleep 9:02 ▐██
██▌ 4. In the Arc of Your Mallet 4:35 ▐██
██▌ 5. My Worst Habit 4:08 ▐██
██▌ 6. Like This 6:36 ▐██
██▌ 7. Stereogram 4:04 ▐██
██▌ 8. Let the Letter Read You 3:35 ▐██
██▌ 9. Boy Beach and Ball 3:04 ▐██
██▌ 10. The Say That Paradise Will Be Perfect 5:22 ▐██
██▌ 11. The New Rule 5:51 ▐██
██▌ 12. An Artist Comes to Paint You 3:34 ▐██
██▌ 13. Boy on Fire 3:44 ▐██
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████ Monsters of Grace, the 1997 Philip Glass/Robert Wilson ████
████ collaboration, marked a new direction for Wilson; this opera ████
████ consisted of an animated film accompanied by singers in the pit ████
████ with the instrumentalists rather than on-stage. Difficulties in ████
████ communicating Wilson's vision to the animators left both ████
████ collaborators dissatisfied with the result, and the opera hasn't ████
████ established itself as one of their most performed works, but ████
████ regardless of the work's future as a theater piece, it's good to ████
████ have a recording that preserves the music. The texts are based on ████
████ Coleman Barks' translations of the poetry of Jeleluddin Rumi, the ████
████ thirteenth century Sufi poet. There is no traditional narrative ████
████ arc or any apparent relationship of the texts to the title of the ████
████ piece, but each of Rumi's poems is a miracle of astonishing ████
████ imagination. Glass' orchestration convincingly incorporates a ████
████ Middle Eastern sound in its imitation of string and wind ████
████ instruments of the region, giving the piece a regional ████
████ specificity that's not present in the "character" operas of his ████
████ trilogy. His text setting in English is uneven; the opening song, ████
████ "Where Everything Is Music," is awkwardly set, but others are ████
████ completely convincing. The songs in which he uses more than one ████
████ voice, or which are conceived chorally, are generally more ████
████ effective than the solo songs. His setting of "Like This," one of ████
████ Rumi's most celebrated poems, is entirely graceful, ████
████ transcendently lovely, and profound. It's the most conventionally ████
████ "Glassian" music in the opera, and easily the musical high point; ████
████ it's also proof that the expressive possibilities of the ████
████ composer's trademark idiom are far from exhausted. Glass' stellar ████
████ ensemble is joined by the excellent vocal quartet of Marie ████
████ Mascari, Alexandra Montano, Gregory Purnhagen, and Peter Stewart. ████
████ The release fills a major gap in the recorded account of Glass' ████
████ work. The album should be of interest to any fans of minimalism, ████
████ and the depth and subtlety of "Like This" are powerful enough to ████
████ make the composer's most skeptical critics reevaluate their ████
████ prejudices. ████
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