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Label: Nonesuch | Catalog Number: 424508-2 | Country: US | Year: 2008

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This elegantly packaged 10 disc retrospective surveys four decades of work by Philip Glass, from his earliest solo pieces to his world-renowned operas to his Oscar-nominated film scores. In music, words and pictures, it traces the evolution, as critic Tim Page puts it in his liner notes essay, of 'the first composer to win a wide, multi-generational audience in the opera house, the concert hall, the dance world, in film and in popular music-simultaneously.' The long-awaited release of this set follows this past spring's triumphal new staging of Glass's 1980 Satyagraha at the Metropolitan Opera House.

Recent studies have proven that music is one of the few disciplines to utilize the entire brain—the left "analytical" side and the left "creative" side. There's no denying the creative aspect of music making, but equally there's a complexity inherent in certain aspects of composition—the determination, for example, that a rhythm in 5/4 and another in 7/4 will intersect every 35 beats—that require rational thinking—problem solving skills, even. The irrefutable logic of harmony makes it clear, even at its most subconscious, that there's an undeniable logic that coexists with the more intuitive and, at times, even random aspects of music.

The intersection of the creative and analytical may be harder to see in some cases, but the minimalism movement that emerged in the late 1960s to embody the music of divergent classical composers ranging from LaMont Young, Terry Riley, Steve Reich and Philip Glass made it crystal clear. A movement that embraced the idea of working with repetition and the interaction of brief musical fragments to create often long-form works that evolved in ways counter to the more conventional compositional approach of theme-based music, what's been perhaps most notable abut the movement is how those who founded the genre, at least to popular conception, have disavowed it. Glass has apparently suggested that the term be stamped out, his own preference being to describe his work as "music with repetitive structures." It's certainly an apt way to depict the music on Glass Box - A Nonesuch Retrospective, a whopping ten-CD set that examines Glass' work of the past forty years, going left back to early compositions like 1969's "Music in Contrary Motion," and covering significant extended works like "Music in Twelve Parts" (1971-74), as well as operas including "Einstein on the Beach" (1976) and "Akhnaten" (1983), string quartets, symphonies, film music and more.

When comparing the three composers most often brought together under the minimalism umbrella—Reich, Riley and Glass—the comprehensive Glass Box goes a long way toward identifying the major differences between Glass and his companions. Perhaps most significant is the formal and rigorous nature of Glass' music, which contrasts with the more improvisational characteristic of some of Riley's most well-known works and the pulse-driven nature of Reich classics like "Music for 18 Musicians" (1974). Riley's classic "In C" (1964) is based on 52 musical fragments that the musicians in the ensemble must play sequentially, but by giving each player the freedom to choose how long he/she plays any given phrase before moving on to the next, each and every performance of the piece is by definition different than any other. Glass, on the other hand, is all about structure and the explicit and planned interaction of the various segments that coalesce to form any of his compositions.

Philip GlassWhat's perhaps most remarkable—and what has clearly differentiated Glass from his contemporaries—is how he has embraced existing forms and found ways to fit his own repetitive structures into them. From opera to symphony, string quartet to piano etude, Glass is the composer who has most fully integrated his own vision within existing stylistic conventions—and, consequently, become one of the most well-known composers of the past half century. Reich and Riley are undeniably composers of equal (or greater) influence amongst musicians—from Soft Machine in the 1970s to more contemporary artists including Swiss pianist Nik Bartsch's "Ritual Groove Music" and Pat Metheny Group's epic The Way Up (Nonesuch, 2005). But by collaborating with everyone from Lou Reed and Paul Simon to creating a two-hour concert work based on the writings of Leonard Cohen, (Book of Longing (Orange Mountain Music, 2007)), Glass has generated the kind of visibility where he may not be a household name, but he's closer to it than any other contemporary classical composer, a clear indicator being a parody seen on the iconic The Simpsons television show.

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