Thanks again for the great analysis, Henrik. I first discovered Glass through Koyaanisqatsi, but I never watched the movie. I do note, though, that he has a work with a band from my home state in Brazil, Uakti, called "Águas da Amazônia" ("Waters from the Amazon"). From there I also discovered Glassworks, and the Opening already captivated me, which is like, as you said, getting hypnotised with those subtle voice changes. I do admit, though, that like his critics, his music can be a hit or miss, but Glassworks is just brilliant, really feels like light rays reflecting from a multi-faceted glass surface.
I prefer the slower meditative tempo. Something about it just really speaks to my soul when it's played a little bit slower, but I do agree that 2 times is enough. Lol
Great analysis. I love this piece and play it now and then to relax. There's a real sadness to it with occasional happier moments. It seems simple but as you point out there are a lot of subtleties especially in the harmonies (which are wonderful). I think it's important in the big overall repeats to play it slightly differently e.g. different volume, maybe accent the LH more, even accent the bass notes, whatever the pianist chooses.
I love your analysis. I'm an intermediate piano player but have never attended any proper music school. I learn pieces note by note, and it's rather challenging to do the analysis part. Your descriptions make lots of sense and help me understand how things fit together. Thank you again!
This reminds me of what Erik Satie called "furniture music," or music meant to be heard only in the backround. In a way, Philip Glass and other minimalist composers could be called the modern Satie.
or the other way around, Minimalism began with Satie... there's actually other composers in between them, giving an evolution to the style over 100 years.
Whenever people ask who the modern composers are now, Glass is always in the list although this song is 41 years old. Einaudi, although still trying to make music, most of his most popular pieces were earlier this century. A lot of classical pianists sort of stick up their nose at composers such as Glass and Reich (from the 60s!). Minimalism is not a word they like. Not only that, but a simple term for modern contemporary music can not be decided upon. It's not neoclassical because that was a sub-genre back in the day as well. And don't call it New Age, because that is so last century! Ambient? How about 21st century? The big composers out now: Joep Beving, Nils Frahm, Chad Lawson, Jakob Ahlbom, Alexandra Streliski, Otto A. Totland, Alexis Ffrench, Yiruma, Yann Tiersen, Akira Kosemura, Fabrizio Paterlini, Gabríel Ólafs, Jacob David etc... They are very popular on Spotify, Instagram, and other streaming services (sort of the only way for musicians to make money these days), but no one ever talks about them. Or gives their type of music an actual name. Minimalist? Nope, already used... (See above. 🤭) Anyway, thanks!!! for bringing someone else more current than a century ago to your repertoire. Always love what you have to share!
Thanks, appreciate it! That's the thing - this is still modern compared to changing the century number of the year. And I think it's a great starting point in a way if you come from only classical music (or want to follow that track). But of course there are more contemporary composers with both popularity and diverse styles. But I still miss some of the ambition of dramatic expression present in "classical" music, it's mostly slow and soothing with various degrees of minimalism...
@SonataSecrets Thank you for taking the time to write back. I agree that the current modern style will probably just be a little blip in the long line of music history. Synonyms such as ambient, calm, peaceful, melancholy, sad, and meditative that are used by musicians to describe their music. Often, many listeners that aren't overly happy with it just use the b-word "boring." The fans try to explain why they are enamored with today's modern piano music; "But it is emotional... It makes me feel to the depths of my soul!" The two sides just don't agree. Actually, if you were to take some of the most popular songs, there would not be much to analyze. This is another thing to critique by the classically trained musicians. That the music could be written by a twelve-year-old. I did enjoy your videos about the current day music for Downton Abbey and The Piano. Especially the video about Love (from "The Legend of 1900") by Ennio Morricone. (Which is similar to the 'sound' of today's music.) But there is quite a difference between soundtracks as opposed to a short piece just written to make someone feel a different emotion. No need to write back. I'm always happy to see a new video from you.
@@SonataSecrets the problem with today's so called piano composers is the use of felt piano instead of a regular piano. If you want to listen to a subscriber piano composition, that he aimed to be expressive and ambitious. You can listen to Pedro Teixeira - Living endless summer days
Thanks, teacher, excellent explanation/ analysis! It’s a pleasure watching vídeos like that, even though it isn’t my favorite (that’s Romantic and Classical) cause we expande the repertoire❤❤❤
This is an incredibly useful analysis of this beautiful Glass piece, thanks! It's also really interesting to listen to Glass' own recent (2024) recordings of his piano pieces. They are much more (rhythmically) free and "emotional" than I had expected.
Thank you Henrik for getting around to Glass. I've been watching your channel a lot after discovering it this past year. Over the same time, I've also been getting into the music of Philip Glass and have really wanted to hear your analysis of his music. Listening to different performers of his piano music, I agree that it often sounds a bit better at a more brisk tempo. If you're willing to keep looking at Glass, I'd be especially interested to hear what you have to say about Etude No. 16, probably my favorite.
Well you can give it a try! The 3vs2 rhythm might be tough depending on how rhythmically comfortable you are. (but it's a good setting for learning it)
@@SonataSecrets I actually think the rhythm is not difficult as I'm used to tap and play that polyrhythm. I'm worried about the overall balance of the piece
![He's great. ["Mad Rush" analysis (with legos)]](http://i.ytimg.com/vi/tizP7IFyWig/mqdefault.jpg)
Thanks again for the great analysis, Henrik. I first discovered Glass through Koyaanisqatsi, but I never watched the movie. I do note, though, that he has a work with a band from my home state in Brazil, Uakti, called "Águas da Amazônia" ("Waters from the Amazon"). From there I also discovered Glassworks, and the Opening already captivated me, which is like, as you said, getting hypnotised with those subtle voice changes. I do admit, though, that like his critics, his music can be a hit or miss, but Glassworks is just brilliant, really feels like light rays reflecting from a multi-faceted glass surface.
I prefer the slower meditative tempo. Something about it just really speaks to my soul when it's played a little bit slower, but I do agree that 2 times is enough. Lol
Great new setting! Perfect use of the scereen space. Please keep this format from now on!
Love it!
Wow! Love your commentary and analysis!
Great analysis. I love this piece and play it now and then to relax. There's a real sadness to it with occasional happier moments. It seems simple but as you point out there are a lot of subtleties especially in the harmonies (which are wonderful). I think it's important in the big overall repeats to play it slightly differently e.g. different volume, maybe accent the LH more, even accent the bass notes, whatever the pianist chooses.
Thank you for addressing the inconsistencies of this edition! I purchased this as well and felt gaslit (Glasslit? I’ll see myself out)
I love your analysis. I'm an intermediate piano player but have never attended any proper music school. I learn pieces note by note, and it's rather challenging to do the analysis part. Your descriptions make lots of sense and help me understand how things fit together. Thank you again!
This reminds me of what Erik Satie called "furniture music," or music meant to be heard only in the backround. In a way, Philip Glass and other minimalist composers could be called the modern Satie.
Why not!
or the other way around, Minimalism began with Satie... there's actually other composers in between them, giving an evolution to the style over 100 years.
Whenever people ask who the modern composers are now, Glass is always in the list although this song is 41 years old. Einaudi, although still trying to make music, most of his most popular pieces were earlier this century. A lot of classical pianists sort of stick up their nose at composers such as Glass and Reich (from the 60s!). Minimalism is not a word they like.
Not only that, but a simple term for modern contemporary music can not be decided upon. It's not neoclassical because that was a sub-genre back in the day as well. And don't call it New Age, because that is so last century! Ambient? How about 21st century?
The big composers out now: Joep Beving, Nils Frahm, Chad Lawson, Jakob Ahlbom, Alexandra Streliski, Otto A. Totland, Alexis Ffrench, Yiruma, Yann Tiersen, Akira Kosemura, Fabrizio Paterlini, Gabríel Ólafs, Jacob David etc...
They are very popular on Spotify, Instagram, and other streaming services (sort of the only way for musicians to make money these days), but no one ever talks about them. Or gives their type of music an actual name. Minimalist? Nope, already used... (See above. 🤭)
Anyway, thanks!!! for bringing someone else more current than a century ago to your repertoire. Always love what you have to share!
Thanks, appreciate it!
That's the thing - this is still modern compared to changing the century number of the year. And I think it's a great starting point in a way if you come from only classical music (or want to follow that track). But of course there are more contemporary composers with both popularity and diverse styles. But I still miss some of the ambition of dramatic expression present in "classical" music, it's mostly slow and soothing with various degrees of minimalism...
@SonataSecrets Thank you for taking the time to write back. I agree that the current modern style will probably just be a little blip in the long line of music history. Synonyms such as ambient, calm, peaceful, melancholy, sad, and meditative that are used by musicians to describe their music. Often, many listeners that aren't overly happy with it just use the b-word "boring."
The fans try to explain why they are enamored with today's modern piano music; "But it is emotional... It makes me feel to the depths of my soul!" The two sides just don't agree. Actually, if you were to take some of the most popular songs, there would not be much to analyze. This is another thing to critique by the classically trained musicians. That the music could be written by a twelve-year-old.
I did enjoy your videos about the current day music for Downton Abbey and The Piano. Especially the video about Love (from "The Legend of 1900") by Ennio Morricone. (Which is similar to the 'sound' of today's music.) But there is quite a difference between soundtracks as opposed to a short piece just written to make someone feel a different emotion. No need to write back. I'm always happy to see a new video from you.
@@SonataSecrets the problem with today's so called piano composers is the use of felt piano instead of a regular piano. If you want to listen to a subscriber piano composition, that he aimed to be expressive and ambitious. You can listen to Pedro Teixeira - Living endless summer days
Oh wow! It feels great watching this channel grow and develop in real time! Love the new setting :D
Love this, Henrik! Thank you 💕
Great video… thank you 🙏
Thanks, teacher, excellent explanation/ analysis! It’s a pleasure watching vídeos like that, even though it isn’t my favorite (that’s Romantic and Classical) cause we expande the repertoire❤❤❤
Thanks, glad you feel that way :)
This is an incredibly useful analysis of this beautiful Glass piece, thanks!
It's also really interesting to listen to Glass' own recent (2024) recordings of his piano pieces. They are much more (rhythmically) free and "emotional" than I had expected.
Thank you Henrik for getting around to Glass. I've been watching your channel a lot after discovering it this past year. Over the same time, I've also been getting into the music of Philip Glass and have really wanted to hear your analysis of his music. Listening to different performers of his piano music, I agree that it often sounds a bit better at a more brisk tempo. If you're willing to keep looking at Glass, I'd be especially interested to hear what you have to say about Etude No. 16, probably my favorite.
Philip Glass's "Einstein on the beach" is a masterpiece. Definitely my favorite work of his. His string quartets are great as well.
Can you do an analysis on Ondine from Gaspard de la nuit by Ravel
When is appropriate for a piano student to play this? 2 years and half is asking for trouble?
Well you can give it a try!
The 3vs2 rhythm might be tough depending on how rhythmically comfortable you are. (but it's a good setting for learning it)
@@SonataSecrets I actually think the rhythm is not difficult as I'm used to tap and play that polyrhythm. I'm worried about the overall balance of the piece