Tag Archives: Philip Glass


Phil has written sonatas for other instruments before, but this would be his first for the piano. I imagined how much he would pour into it given that the piano is the instrument he has spent a lifetime playing (at home and on countless tours). However, Phil is not an artist to let the potential of a “first” be tethered to what is known. His exuberance came from writing something that would far surpass what he could play, or be able to entirely hear on the instrument itself beyond imagining it as the composer. There would need to be someone who could bring the music to life and bridge the musical space between themselves, the audience and the composer.

Phil composed his Piano Sonota for Maki Namekawa and Maki collaborated on its shape and dimensionality by adding her tremendous capacity and insight as a pianist. — Kristy Edmunds

In spring of 2019, Philip Glass sent Namekawa the score for the sonata, and the following summer the two longtime collaborators premiered the work at the Klavier-Festival Ruhr. The piece made its American debut in November of that year at the Morgan Library and Museum in New York City.

This weekend, UCLA’s Center for the Art of Performance (CAP UCLA)—in association with Ars Electronica in Linz—will stream a prerecorded performance by Namekawa of the piece. Also on the program: Mozart Camargo Guarnieri’s Sonatina No. 3 in G-clef (1937), Alban Berg’s Piano Sonata, Op. 1 (1907-1908), and György Ligeti’s Musica Ricercata.

See link below for details.


UCLA’s Center for the Art of Performance

Sunday, January 10.

3 pm on the West Coast; 6 pm East Coast.

From top: Philip Glass and Maki Namekawa at the Klavier-Festival Ruhr, 2019; Namekawa, photograph by Tom Mesic; Namekawa, photograph by Verena Lafferentz; Namekawa and Glass, Klavier-Festival Ruhr, 2019. Images courtesy and © the photographers, the musicians, and UCLA’s Center for the Art of Performance.


L.A. Dance Project presents L.A. DANCES—A FESTIVAL OF 10 DANCE WORKS, an engagement of ten Los Angeles premieres—plus a new production of Bella Lewitzky’s KINAESONATA—over the course of the next two months.

Program A includes new work by L.A. Dance Project dancers Janie Taylor (ADAGIO IN B MINOR) and Gianna Reisen (RISING WATER)—as well Kyle Abraham’s CHAPTER SONG. This fast-moving piece of vignettes and quick cuts features costumes and text by the choreographer, voiceover by Carrie Mae Weems, and music by everyone from Philip Glass and Barbra Streisand to Outkast and Kendrick Lamar.

The evening opens with SPLIT STEP, a collaboration by visual artist Emily Mast, director Zack Winokur, composer Evan Mast, lighting designer Christopher Kuhl, and the dancers of L.A. Dance Project.


Thursday through Sunday, September 26, 27, 28, and 29.

Thursday through Sunday, October 10, 11, 12, and 13.

Sunday, October 20, and Thursday, October 24.

All performances at 8 pm.

L.A. Dance Project

2245 East Washington Boulevard, downtown Los Angeles.

L.A. Dance Project, L.A. Dances—A Festival of 10 Dance Works, Program A images courtesy and © L.A. Dance Project, the dancers, and the photographers.


The world premiere of Philip Glass’ 12th symphony—an interpretation of David Bowie and Brian Eno’s music for LODGER—will be conducted this week in Los Angeles by John Adams in a program that includes Gabriella Smith’s Tumblebird Contrails and Adams’ Grand Pianola Music.

Angelique Kidjo will sing during the LODGER section, and program performers include sopranos Zanaida Robles and Holly Sedillos, mezzo-soprano Kristen Toedtman, pianists Marc-André Hamelin and Orli Shaham, and organist James McVinnie.




Thursday and Friday, January 10 and 11, at 8 pm.

Sunday, January 13, at 2 pm.

Walt Disney Concert Hall

111 South Grand Avenue, downtown Los Angeles.

Above: Original Lodger album cover, 1979. Image credit: RCA.

Below: Philip Glass (left) and David Bowie.


The L.A. Dance Project–company-in-residence at The Wallis for 2017-2018—is tripling down for its fall season, with three Los Angeles premieres of work by choreographer and artistic director Benjamin MillepiedIN SILENCE WE SPEAK and ORPHEUS HIGHWAY, both from 2017, and CLOSER, a 2006 piece with music by Philip Glass.

In addition, the company will dance the U.S. premiere Noé Soulier’s SECOND QUARTET, which features music by the choreographer and Flemish DJ Tom De Cock.


L.A. DANCE PROJECT, Thursday through Saturday, November 2–4, at 7:30 pm.

THE WALLIS, 9390 Santa Monica Boulevard, Beverly Hills.



Current company members include Aaron Carr, David Adrian Freeland, Jr.Kaitlyn GillilandAxel Ibot, Daisy Jacobson, Nathan Makolandra, Francisco MungambaRachelle Rafailedes, Janie Taylor, Miranda Wattier, and Patricia Zhou.

L.A. Dance Project, in performance at The Wallis, November 2, 2017. From top:

Second Quartet, Nathan Makolandra and Rachelle Rafailedes; In Silence We Speak, Rafailedes (left) and Janie TaylorSecond Quartet, from left, David Adrian Freeland Jr., Makolandra, and Aaron Carr. Performance photographs by Lawrence K. Ho.

Benjamin Millepied. Photograph by Morgan Lugo. Image credit: The Wallis.

L.A. Dance Project 13_preview

L.A. Dance Project 27_preview

L.A. Dance Project 11_preview

Image result for in silence we speak millepied LA dance project


Jean Cocteau has always been an artist whose work was central to the modern art movement of the twentieth century. More than any other artist of his time, he again and again addressed questions of art, immortality and the creative process…

Blood of a Poet, Orphée, and LA BELLE ET LA BÊTE are all extremely thoughtful and subtle reflections of the life of an artist… La Belle is the most openly allegorical in style. Presented as a simple fairy tale, it soon became clear that the film had taken on a broader and deeper subject: the very nature of the creative process…

“The chateau itself is then seen as the very site of the creative process where, through an extraordinary alchemy of the spirit, the ordinary world of imagination takes flight.” — Philip Glass*

This weekend, the L.A. Opera presents three performances of Glass’ remarkable transformation of Cocteau’s 1946 masterpiece, which jettisons the film’s original score and dialogue. Glass’ 1994 soundtrack will be performed by his ensemble, and sung onstage by Gregory Purnhagen (la Bête), Hai-Ting Chinn (Belle), Marie Mascari (Félicie, and Adélaïde) and Peter Stewart (le père, and Ludovic). Michael Riesman conducts.



Saturday, October 28, at 8 pm. Tickets include admission to Beastly Ball.

Sunday, October 29, at 2 pm.

Tuesday, October, 31, at 8 pm. Tickets include after-party and costume contest.

THEATRE AT ACE HOTEL, 929 South Broadway, downtown Los Angeles.



Tonight, join Philip Glass in performance and conversation at Whittier College.


AN EVENING WITH PHILIP GLASS, Thursday, October 26, at 7:30 pm.

WHITTIER COLLEGE, 13406 East Philadelphia Street, Whittier.


*See  artsmeme.com/2014/04/29/philip-glass-on-cocteaus-la-belle-et-la-bete

From top: Josette Day as Belle in La belle et la bête (1946); Marcel André, Belle’s father, visits the château; Jean Marais, as la Bête; Marais and Day.