New Releases by Philip Glass

ESTE É UM EPISÓDIO DA OBRA "CARTA PARA O MEU JOVEM EU", DE JANE GRAHAM, QUE APRESENTAM CARTAS PARA PHILIP GLASS E SHANIA TWAIN MAIS JOVENS. SE QUISER LER TODAS AS CARTAS LEIA A OBRA COMPLETA. Se a viagem no tempo fosse uma possibilidade, o que você diria ao seu eu adolescente, caso o encontrasse? Em Carta Para Meu Jovem Eu, personalidades das mais diversas áreas refletem sobre o que teria sido bom saber antes. Elas também lembram aqueles momentos mágicos que gostariam de reviver. O livro inclui a participação especial de personalidades brasileiras.

A stunning, deluxe boxed set of composer Philip Glass''s most important and historic body of work, his collection of twenty Piano Etudes, along with a book of reflections by notable artists and musicians. Philip Glass is one of the most influential artists and composers of our time. The Complete Piano Etudes box contains Glass''s most seminal and personal work, his twenty piano etudes, consisting of twenty sewn bound expandable folios of each piece of music, along with a bound collection of essays and reflections by notable writers, musicians, artists, and famous admirers, including Lucinda Childs, Nathan Chen, Alice Waters, Maira Kalman, Martin Scorcese, and more, connected to this body of work. Glass began composing the Etudes, or "studies," in the early 1990s. Book 1, the first set of 10 Etudes, were composed for Glass himself to work on his own playing. While on this journey, it became clear that Glass was no longer composing just for himself, but rather to be played and enjoyed by others. The Etudes were completed in 2012, remaining unpublished until 2014. The published volumes of the two complete volumes of the Etudes became an instant staple of modern music repertoire and a compendium of the finest elements of Philip Glass''s later music. There have been dozens of recordings in part and in whole by artists on the most prestigious record labels. At just over two hours long, the music itself became a self-contained concert experience, performed internationally by some of the world''s great interpreters. This deluxe volume of Glass''s historic body is to be cherished by music lovers, piano students and players as a lasting heirloom to be passed down from generation to generation. It''s a beautiful object to display at home, and to be explored at the keyboard.

Die Belange des Datenschutzes stellen den Rechtsstaat vor neue Herausforderungen. Hier treffen Berechenbarkeits- und Reproduzierbarkeitsanspruch des Rechts auf eine hochreaktive, schwer fassbare Materie, die genau genommen keine ist: Information. Diese betrifft jede und jeden bis in den innersten Kern der Persönlichkeit, da sie alles widerspiegelt, was sich sensorisch und logisch erfassen lässt. Gegenüber dieser Allgegenwärtigkeit verkörpert Datenschutzrecht den Willen der Rechtsgemeinschaft, die Bearbeitung von Daten durch den Staat sowie durch seine Rechtssubjekte und damit die Nutzung von Information innerhalb der Gesellschaft in einer Weise zu ordnen, die den Individuen die Möglichkeit bewahren soll, über die Wirkungsreichweite der sie betreffenden Information mitzubestimmen. Die vorliegende Dissertation stellt den rechtsstaatlichen Rahmen dieses ebenso technischen wie persönlichen Rechtsgebiets dar und zeigt auf, wie dessen eigentümlicher Drang nach Flexibilität rechtlich eingefangen werden kann. Sie beschreibt Methoden zur Einbindung von verfassungsrechtlichen Argumenten in datenschutzrechtliche Entscheidungen und gibt Hinweise zu spezifischen Problemlagen in den Bereichen Polizei, Staatsschutz, Sozialhilfe und elektronische Informationsverarbeitung. Hierbei wird auch die Entwicklung hin zu einer umfassenden statistischen Aneignung und Profilierung des Individuums thematisiert, die durch Big Data-Technologien auf alle Lebensbereiche ausgeweitet und durch die steigende Leistungs- und Differenzierungsfähigkeit der von uns genutzten Informationsmaschinen befeuert wird.

Philip Glass est doté d''une oreille extraordinairement réceptive aux nuances des mondes qu''il a traversés, comme aux évolutions musicales de son temps. Dans ce récit de vie à la première personne, les lieux marquent les souvenirs et font émerger des sonorités : le magasin de disques de son père à Baltimore, les clubs de be-bop à Chicago, la scène expérimentale à New York, les exercices d''" écoute " de Nadia Boulanger à Paris, l''intensité rythmique des concerts de Ravi Shankar... Sa formation musicale, la fréquentation d''artistes majeurs, mais aussi ses voyages, qui sont autant d''incursions dans les musiques indienne, himalayenne, africaine, sud-américaine, lui permettent d''inventer les outils nécessaires à la composition et font de lui un praticien hors du commun.

Corría el año 57 y la señora Glass estaba muy preocupada por el incierto futuro de su hijo, recién graduado en la Universidad de Chicago. "Si te vas a Nueva York a estudiar música acabarás como tu tío Henry", le dijo. Aquel Henry era un músico itinerante que tocaba la batería en teatros de variedades y salas de baile. "Eso es lo que realmente quiero", contestó el joven Philip. A la mañana siguiente tomó el autobús que lo conduciría desde las calles de Baltimore hasta el sueño de la creación vagabunda. No fue, sin embargo, un camino de rosas: la ópera ''Einstein on the Beach'' lo consagró en 1976 como uno de los más grandes compositores del planeta, pero durante las dos décadas anteriores se ganó la vida arreglando tuberías o conduciendo taxis y camiones de mudanzas. También vivió en París y recorrió la India, un viaje iniciático que le dejó una huella indeleble. Philip Glass es una figura central en la cultura contemporánea. Sus sinfonías, óperas, bandas sonoras y piezas de cámara han entrado por derecho propio en la partitura de nuestro tiempo. Sus rupturas, sus audacias, son ya insoslayables. En este libro, sin embargo, Glass también se descubre como un cronista agudo y minucioso, como un narrador nato que con pocos trazos logra dibujar anécdotas, atmósferas y personajes (entre ellos, Allen Ginsberg, Ravi Shankar, Doris Lessing, Richard Serra,Leonard Cohen o Martin Scorsese). No será fácil igualar su recreación de la bohemia neoyorquina durante la segunda mitad del siglo XX. ''Palabras sin música'' no es la exégesis de una obra, sino el espejo de una vida apasionante. Es, además, un canto al poder del arte para transformar el mundo.

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New York Times Bestseller An NPR Best Book of the Year Winner of the Chicago Tribune Literary Award Finalist for the Marfield Prize, National Award for Arts Writing "Reads the way Mr. Glass''s compositions sound at their best: propulsive, with a surreptitious emotional undertow." —Corinna da Fonseca-Wollheim, New York Times Philip Glass has, almost single-handedly, crafted the dominant sound of late-twentieth-century classical music. Yet in Words Without Music, his critically acclaimed memoir, he creates an entirely new and unexpected voice, that of a born storyteller and an acutely insightful chronicler, whose behind-the-scenes recollections allow readers to experience those moments of creative fusion when life so magically merged with art. From his childhood in Baltimore to his student days in Chicago and at Juilliard, to his first journey to Paris and a life-changing trip to India, Glass movingly recalls his early mentors, while reconstructing the places that helped shape his creative consciousness. Whether describing working as an unlicensed plumber in gritty 1970s New York or composing Satyagraha, Glass breaks across genres and re-creates, here in words, the thrill that results from artistic creation. Words Without Music ultimately affirms the power of music to change the world.

THE TWENTY ETUDES FOR PIANO were composed during the years from 1991 to 2012. Their final configuration into Book 1 and Book 2 was determined by the music itself in the course of its composition. Book 1 (Etudes 1–10) had a twin objective — to explore a variety of tempi, textures and piano techniques. At the same time it was meant to serve as a pedagogical tool by which I would improve my piano playing. In these two ways, Book 1 succeeded very well. I learned a great deal about the piano and in the course of learning the music, I became a better player. New projects came along and interrupted the work on the Etudes for several years. Perhaps for that reason, when I took up work with the Etudes again I found the music was following a new path. Though I had settled questions of piano technique for myself in Book 1, the music in Book 2 quickly began to suggest a series of new adventures in harmony and structure. In this way, Books 1 and 2, taken together, suggest a real trajectory that includes a broad range of music and technical ideas. In the end, the Etudes are meant to be appreciated not only by the general listener, but especially by those who have the ability and patience to learn, play and perform the music themselves.

Libretto van en bijdragen over de opera.