Doug Aitken

Sonic Fountain II

An excavation filled with milky water, Sonic Fountain is surmounted by nine taps distributed in a grid which taste according to a precisely written score. In the water, microphones record the sound of drops of water – sound broadcast live in space, like a concert. In the artist’s words, Sonic Fountain “is a deliberately abstract work that bares architecture and reveals its rhythm, tempo and language”.

PHILIP GLASS

فيليب الزجاج
菲利普·格拉斯
פיליפ גלאס
フィリップ·グラス
필립 글래스
Филип Гласс
Einstein On The Beach

ROBERT WILSON
Portrait Trilogy:Einstein; Akhnaten; Gandhi

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Einstein on the Beach is an opera in four acts (framed and connected by five “knee plays” or intermezzos), scored by Philip Glass and directed by theatrical producer Robert Wilson. The opera eschews traditional narrative in favor of a formalist approach based on structured spaces laid out by Wilson in a series of storyboards. The music was written “in the spring, summer and fall of 1975.”Glass recounts the collaborative process: “I put [Wilson’s notebook of sketches] on the piano and composed each section like a portrait of the drawing before me. The score was begun in the spring of 1975 and completed by the following November, and those drawings were before me all the time.”
full opera

LA LA LA HUMAN STEPS

Amelia

Edouard Locke

“Directed and choreographed by Locke in 2002, Amelia, is a beautiful piece of dance on film that won awards and critical acclaim at numerous festivals when it came out. Amelia features a hypnotic, original, minimalist score written by David Lang for violin, cello, piano and voice, and lyrics from five of Lou Reed’s most famous works that he created in the 60s for the Velvet Underground. It is beautifully shot from multiple angles, some dizzying and swooping, in a space that was tailor-made for the film itself. The shadows and lighting in tandem with the shots and the movement add layers of beauty to the stark visuals.” Sarah Elgart

TERRY RILEY

keyboard study

The score to “Keyboard Study 1” is spare: two pages of musical cells and two pages of written instructions for how to navigate and manipulate those cells provide the pitch material, but choices about duration, dynamics, and shape are left up to the performer. There are three ostinati that form the skeleton of the piece between which are related sets of variations that will be mixed, matched, and sometimes played on top of the primary pattern. Riley offers the recipe for how to mix the ostinati and variation sets then its up to the performer(s) to choose which variation to use out of a particular set and how to shape the transitions from one ostinato to the next. Riley’s music empowers performers to create and react while also bonding their expression to the act of composition.