To me, at first, it doesn’t sound like any of Glass’ other piano works (except perhaps at a stretch ‘Modern Love Waltz’) but once it settles into the more lushly harmonic body of the piece it becomes more recognisably “Glassical” to me.
I’ve read that Glass was originally supposed to score the entire film but his work was replaced with a score by Clint Mansell (whose score for ‘Requiem for a Dream’, performed by the Kronos Quartet, is one of my favourites and, like some of Glass’ pieces, you’ll often find it being borrowed for film trailers etc.). I can’t understand why producers would go to the trouble of hiring someone like Glass, who must be one of the busiest (even by film score composers’ standards) composers around, only to then reject his music; what were they expecting? At least this piece appears to have survived the cull (I hope he still got paid for his rejected work; although, would that preclude him from releasing it as a stand alone work?).
Wow….that was awesome!
It sounds a bit like Four Movements For Two Pianos.
What a really good piece!
To me, at first, it doesn’t sound like any of Glass’ other piano works (except perhaps at a stretch ‘Modern Love Waltz’) but once it settles into the more lushly harmonic body of the piece it becomes more recognisably “Glassical” to me.
I’ve read that Glass was originally supposed to score the entire film but his work was replaced with a score by Clint Mansell (whose score for ‘Requiem for a Dream’, performed by the Kronos Quartet, is one of my favourites and, like some of Glass’ pieces, you’ll often find it being borrowed for film trailers etc.). I can’t understand why producers would go to the trouble of hiring someone like Glass, who must be one of the busiest (even by film score composers’ standards) composers around, only to then reject his music; what were they expecting? At least this piece appears to have survived the cull (I hope he still got paid for his rejected work; although, would that preclude him from releasing it as a stand alone work?).