Latest Philip Glass Quotes from Interviews

Quotes about:

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

  Philip Glass

  World

  Source: thomasmoore.info

• There's almost no content in terms of language at all. I don't like using language to convey meaning. I'd rather use images and music.

  Philip Glass

  Use, Language, Term

  Source: thomasmoore.info

• 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.

  Philip Glass

  Character, Dark, Thinking

  Source: 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

  Thinking, Ideas, People

  Source: thomasmoore.info

• 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.

  Philip Glass

  Writing, Character, Thinking

  Source: thomasmoore.info

• Finally, ultimately, you write music for yourself. I mean, I need a public, I need people to play, I need everything else. I'm not working in isolation. But finally the man that writes the music is alone. And I have to respond to those criteria which are almost like inner needs or inner responses.

  Philip Glass

  Writing, Mean, Men

  Source: 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

  Source: 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

  Source: 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

  Thinking, Trying, Way

  Source: thomasmoore.info

• I think I'm really part of a whole generational movement in a way. I think a lot of other people since and during this time have gotten interested in writing what we can still call experimental music. It's not commercial music. And it's really a concert music, but a concert music for our time. And wanting to find the audience, because we've discovered the audience is really there. Those became really clear with Einstein on the Beach.

  Philip Glass

  Beach, Writing, Thinking

  Source: 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

  Source: 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

  Source: 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

  Source: 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

  Source: 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

  Source: 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

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

• 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.

  Philip Glass

  Writing, Play, Symphony

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

• My biggest problem about writing is whenever I write piano pieces, because I then have to learn to play them, which is sometimes not so easy.

  Philip Glass

  Writing, Play, Piano

  Interview with Bryce Dessner, www.interviewmagazine.com. February 3, 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

  Interview with Bryce Dessner, www.interviewmagazine.com. February 3, 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

  Interview with Bryce Dessner, www.interviewmagazine.com. February 3, 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.

• 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.

  Philip Glass

  Choices, Style, Bases

  "Ira Glass Interviews His Cousin, Composer Philip Glass". "Fresh Air" with Ira Glass, www.npr.org. January 31, 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 Interviews His Cousin, Composer Philip Glass". www.wbur.org. September 21, 1999.

• In order to arrive at a personal style, you have to have a technique to begin with.

  Philip Glass

  Order, Style, Technique

  "Ira Glass Interviews His Cousin, Composer Philip Glass". www.wbur.org. September 21, 1999.