《時時刻刻》電影配樂大師，帶你重返《楚門的世界》音樂現場
● 榮獲本屆奧斯卡《醜聞筆記》電影配樂提名
●《楚門的世界》獲金球獎、《時時刻刻》獲葛萊美及奧斯卡提名
●《達賴的一生》獲洛杉磯評論者獎、奧斯卡最佳戲劇原創音樂提名
● 歌劇創作《沙灘上的愛因斯坦》被視為二十世紀音樂劇場的里程碑
兩廳院二十週年慶【經典二十】系列節目，音樂第一檔巨獻將由當代極限音樂（Minimalism）超重量級代表人物，同時身兼電影配樂大師的菲利普‧格拉斯(Philip Glass)率領專屬樂團來台演出。音樂會將於4月11、12日在國家音樂廳隆重登場。2007年剛好是世紀鬼才菲利普‧格拉斯70歲大壽，二場演出在大師精心安排下，曲目皆不相同且各具特色，分別包括電影《楚門的世界》《迷惑世界》及歌劇《法老王》《達賴的一生》《機械生活》《沙灘上的愛因斯坦》等經典選曲，在台灣觀眾熱烈的回應下，兩場演出票房皆已衝破八成。透過這兩場演出，觀眾除可親睹大師風采之外，更可一窺極限音樂在國際上最具重量級的展現，愛樂者絕對不容錯失這場由極簡領航者，用創意與音符寫下的當代經典演出。
◎一位將音樂帶往另一個世紀，另一種思考空間的偉大音樂家：
菲利普．格拉斯的名字，對台灣樂壇而言雖早已赫赫有名，但對廣大的一般觀眾或許有些陌生，不過若提到他膾炙人口經典的作品《楚門的世界》《時時刻刻》《美女與野獸》《祕窗》《人生三部曲》《恐怖小孩》《三島由紀夫傳》等這些獲得葛萊美獎、金球獎、奧斯卡獎等多項大獎提名、得獎的電影配樂及劇場音樂，馬上就能喚起大家的聽覺印象。
1976年與羅伯．威爾森(Robert Wilson)共同創作的歌劇「沙灘上的愛因斯坦」被視為二十世紀音樂劇場的里程碑。長達三幕四個半鐘頭的演出，不落幕也沒有中場休息，以前衛的舞台風格震驚當代世界劇壇，被紐約時報讚譽是「全球實驗劇場的指標」，這作品讓格拉斯打破了傳統歌劇的形式，成功寫下「無限的低限」音樂美學，上演成功後，許多音樂家才開始正式採用這種作曲方式，極限音樂頓時成為一種新的創作風潮。
◎菲利普‧格拉斯對極限音樂的哲思：
格拉斯一九三七生於美國巴爾的摩，一九五二年到一九五六年在芝加哥大學修習數學與哲學，一九五八年到一九六二年進入紐約茱麗亞音樂院，放棄在芝加哥所學到的十二音階技巧，轉而追隨美國作曲家柯普蘭(Aaron Copeland)與威廉‧舒曼(William Schuman)學習作曲，之後又到巴黎追隨二十世紀音樂教母布蘭潔（Nadia Boulanger）學作曲。布蘭潔不管格拉斯先前在茱麗亞音樂院的學習資歷，作曲理論從頭教起，這使得格拉斯的作曲技巧更為紮實，對音樂的視野也更加深廣，一九六五年秋，在巴黎跟隨布蘭潔的第二年，格拉斯應邀替一部電影《Chappaqua》配樂，又因遇見印度國寶級音樂家拉維‧香卡，他將拉維‧香卡演奏的音樂譜寫出來，以便於西方樂手演奏，這個機會打開了格拉斯的視界，讓他接觸到西方音樂以外的音樂體系。
在將拉維‧香卡所演奏的音符寫成譜的過程當中，格拉斯發現印度音樂與西方音樂大不相同。「在西方音樂中，我們分割時間，就好像切一條土司一樣將時間分段；而在印度音樂中，則是將一個個時間單位串起來連成更大的時值。」格拉斯後來解釋道。也因為開始接觸到印度音樂的作曲技巧及精神，之後格拉斯旅行各地並理首研究北非、印度與喜馬拉雅山地區的音樂，回到紐約後他放棄之前的音樂，開始在自己作品中添加東方音樂技巧。格拉斯表示：「因為有那段寶貴的經驗，之後才能寫出最極致完美的音樂作品。」
但事實上，格拉斯創作的才華不侷限於某個音樂範疇，他橫跨交響樂、室內樂、戲劇、歌劇、舞蹈等多領域，與流行樂界關係也很密切，曾經與大衛鮑伊、保羅賽門等歌手合作，他的樂迷涵蓋了流行、爵士、搖滾、新世紀以至於古典樂愛好者，不只擁有「電影配樂大師」及「美國最前衛音樂家」頭銜；同時也有最受歡迎「古典音樂家」的身分。一九八O年代後期也以司迪麥口香糖音樂等意識形態/後現代主義手法的廣告竄紅，並引發討論。
◎極限音樂大師創下票房佳績：
由兩廳院主辦的【菲利普‧格拉斯 經典再現】節目，在二場演出前30分鐘，於音樂廳大廳設有「音樂會前導聆」，分別於4月11日(三)邀請到資深樂評人、古典啟示錄台長「賴偉峰」主講；4月12日(四)邀請到資深影評人藍祖蔚主講，歡迎當天來聽演出的觀眾可以踴躍參加，透過不同形式的活動可以更認識這位極限音樂當代巨匠。2007年最難得的一場演出，這次格拉斯將用音樂帶你去探索感知的品質，在聲音之外，賦予聽者蒙太竒的畫面想像，構成他作品直入人心的魅力，想觀賞一場兼具人文及戲劇張力的音樂會，千萬不要錯過。購票請洽兩廳院售票系統：（02）3393-9888，
www.artsticket.com.tw。
◆主辦單位：國立中正文化中心
◆演出時間：2007/4/11~12(三~四) 7：30PM
◆演出地點：國家音樂廳
◆演出者：演奏／Philip Glass & Philip Glass Ensemble作曲／Philip Glass指揮及音樂指導／Michael Riesman音效／Kurt Munkacsi製作／Linda Brumbach, Pomegranate Arts Inc.
◆演出曲目：
4/11：
◎Music In Similar Motion - 同向運行的音樂(1969-1981)
◎Raising the Sail – 揚帆
The Truman Show (1998) - 選自《楚門的世界》
◎Parts 1 and 2 - 第一部和第二部
Music in 12 Parts (1971-1974) - 選自《十二部音樂》
◎Mosque and Temple – 清真寺與廟寺
Powaqqatsi (1988) – 選自《迷惑的世界》
◎Building – 建築物
Einstein on the Beach (1976) – 選自《沙灘上的愛因斯坦 》
◎Some Are (2nd Movement) - 第二樂章
Low Symphony (1992) - 選自《低限交響曲》
◎The Funeral – 葬禮
Akhnaten (1984) - 選自《法老王》
4/12：
◎Sand Mandala – 沙壇城
Kundun (1997) - 選自《達賴的一生》
◎Parts 7 and 8 – 第七和第八部
Music in 12 Parts (1971-1974) - 選自《十二部音樂》
◎The Grid – 網格
Koyaanisqatsi (1982) - 選自《機械生活》
◎Dance Piece No. 9 – 第九號舞蹈作品
◎In the Upper Room (1986) - 選自《在樓上的房間》
◎Façades – 外觀
Glassworks (1983) - 選自《格拉斯菁華》
◎Dance No. 1 – 第一號舞蹈
Einstein on the Beach (1976) - 選自《沙灘上的愛因斯坦 》
◎Act III – 第三幕
The Photographer (1983) - 選自《攝影師》
◆票價：500/700/900/1200/1600/200 (500/700/900已售完)
◆售票處：兩廳院售票系統 (02)3393-9888
www.artsticket.com.tw
●Philip Glass Biography(英文參考資料)
Born in Baltimore, Maryland on January 31, 1937, Philip Glass discovered music through the records his father’s radio repair shop carried, in addition to servicing radios. Ben Glass would take home the records that sold poorly to play for his three children. Philip rapidly became familiar with Beethoven quartets, Schubert sonatas, Shostakovitch symphonies and other music then considered ’’offbeat.’’ It was not until he was in his late teens that Glass encountered more ’’standard’’ classics.
Glass’ formal training began at age six with music lessons. At age eight he took up the flute but by fifteen, the instrument’s limited range —as well as with what post-war Baltimore had to offer in terms of musical life— frustrated him. During his second year in high school, the University of Chicago accepted his application for admission. With his parents’ encouragement, he moved to Chicago, supporting himself with part-time jobs waiting tables and loading airplanes at airports. He majored in mathematics and philosophy, and during off-hours practiced piano, concentrating on composers such as Ives and Webern.
At nineteen, Glass graduated from the University of Chicago and moved to New York City to attend the Juilliard School. During this time, he abandoned the 12-tone techniques he used in Chicago and explored the works of American composers like Aaron Copeland and William Schuman. Eventually Glass would study with Vincent Persichetti, Darius Milhaud and William Bergsma. Rejecting serialism, Glass gravitated to such maverick composers as Harry Partch, Charles Ives, Moondog, Henry Cowell and Virgil Thomson—but still had not found his own voice. In 1960, he moved to Paris and spent two years of intensive study under Nadia Boulanger. It was in Paris that filmmaker Conrad Roods hired Glass to transcribe ragas by Ravi Shankar’s into western notation. During this process, Glass discovered the techniques of Indian music. After researching music in North Africa, India and the Himalayas, he returned to New York and applied these techniques to his own work.
By 1974, Glass had composed a large collection of new music for his performing group, The Philip Glass Ensemble, and music for the Mabou Mines Theater Company, co-founded by Glass. This period culminated in Music in Twelve Parts (1974), a three-hour summation of Glass’ new music, followed by the landmark opera, Einstein on the Beach (1976) —a five-hour epic created with Robert Wilson that is now seen as a landmark in 20th century music-theater. Glass then decided to make Einstein part of a trilogy, resulting in the creation of the operas Satyagraha (1982) and Akhnaten (1984). Over the years, Glass and Wilson worked on several other projects including Civil Wars (Rome) (1984) —the fifth act of a multi-composer epic written for the 1984 Olympics; White Raven (1991) —an opera commissioned by Portugal to celebrate its history of discovery and premiering at EXPO ’98 in Lisbon and in 2001 at the Lincoln Center Festival; and Monsters of Grace (1998) —a digital 3-D opera.
Beyond these landmark works, Glass’ repertoire spans the genres of opera, orchestra, chamber ensemble, dance, theater, and film and includes collaborations with a variety of distinctive contemporary artists. His operas include The Making of the Representative for Planet 8 (1986) and Marriages Between Zones Three, Four and Five (1997) with librettos written by Doris Lessing based on her novels; Hydrogen Jukebox (1990) with a libretto by Allen Ginsberg based on his poetry; The Voyage (1992), based on the explorations of Christopher Columbus with a libretto written by David Henry Hwang; The Fall of the House of Usher (1988), based on the Edgar Allen Poe short story with a libretto by Arthur Yorinks; and In the Penal Colony (2000), a musical theater work based on the short story by Franz Kafka with a libretto by Rudolf Wurlitzer. Glass’ most recent opera collaborations include Galileo Galilei (2002) with Mary Zimmerman and The Sound of a Voice (2003) with David Henry Hwang.
No less varied are Glass’ orchestral works. There are large-scale works for chorus and orchestra such as Itaipu (1989) and Symphony No. 5 (1999) a symphonic a chorus based on texts from wisdom traditions throughout the world; Symphony No. 2 (1996) commissioned by the Brooklyn Philharmonic Orchestra, Symphony No. 3 (1996), Symphony No. 6 (Plutonian Ode) (2001), with text by Allen Ginsberg; and ’’Low’’ and ’’Heroes’’ Symphonies (1992, 1997), both based on the music of David Bowie and Brian Eno. Glass also produced a five string quartets as well as concertos for violin and orchestra, saxophone quartet and orchestra, two timpanists and orchestra, and harpsichord and orchestra. His Tirol Concerto for Piano and Orchestra (2000) premiered at the Klanspuren Festival in Tirol, Austria and his Concerto for Cello and Orchestra (2001), commissioned for Julian Lloyd Webber’s 50th Birthday, premiered at the Beijing Festival.
Glass film scores include Godfrey Reggio’s trilogy Koyaanisqatsi (1983), Powaqqatsi (1987) and Naqoyqatsi (2002); Errol Morris’ The Thin Blue Line (1988), A Brief History of Time (1992) and the recent release, The Fog of War (2003); Paul Shrader’s Mishima (1985); Bernard Rose’s Candyman (1992) and Bill Condon’s Candyman II (1996); and an original score, performed by Kronos Quartet for the re-release of the 1930 Dracula (2000) starring Bela Lagosi. Critically acclaimed film scores include Martin Scorsese’s Kundun (1997)– which won Glass the LA Critics Award, as well as the Academy and Golden Globe nominations for Best Original Score —and original music for Peter Weir’s The Truman Show (1998)—which won a Golden Globe Award for Best Score in 1999. Glass’ work for Stephen Daldry’s The Hours (2002) received Golden Globe, Grammy, and Academy Award nominations, along with winning the Anthony Asquith Award for Achievement in Film Music from the British Academy of Film and Television Arts. He also scored the thrillers Taking Lives and Secret Window in 2004.
Beyond the genres of opera, orchestra, and film scores, Glass also has a number unclassifiable dance, theater, and recording works. Dance hybrids include In the Upper Room (1986), choreographed by Twyla Tharp, and A Descent into the Maelstrom (1986). Theater hybrids include The Photographer (1983), The Mysteries and What’s so Funny? (1990) and 1000 Airplanes on the Roof (1988) with a libretto by David Henry Hwang and designs by Jerome Sirlin. Glass has also created a trilogy of musical theater pieces based on the films of Jean Cocteau, Orphée (1993), La Belle et La Bête (1994) and Les Enfants Terribles (1996). His hybrid recording projects include Passages (1991) with Ravi Shankar and Songs from Liquid Days (1986) with lyrics by David Byrne, Paul Simon, Laurie Anderson, and Suzanne Vega.
In 2003, Glass premiered the opera The Sound of a Voice with David Henry Hwang, created the score to Errol Morris’ Academy Award winning documentary The Fog of War, and released the CD Études for Piano Vol. I, No. 1-10 on the Orange Mountain Music label. Premieres for 2004 include the new work Orion –a collaboration between Glass and six other international artists opening in Athens as part of the cultural celebration of the 2004 Olympics in Greece. Glass also premiered his Piano Concerto No. 2 (After Lewis and Clark) with the Omaha Symphony Orchestra. Upcoming in 2005 is his Symphony No. 7 with the National Symphony Orchestra and the opera Waiting for the Barbarians, based on the book by John Coetzee. Glass continues to regularly tour with Philip on Film, performing live with his ensemble to a series of new short films as well as classics like Koyaanisqatsi, Powaqqatsi, La Belle et La Bête, and Dracula.
September 2004
●PHILIP GLASS ENSEMBLE BIOGRAPHY(英文參考資料)
Established by composer Philip Glass, the first performance by the Philip Glass Ensemble was held in May 1969 at the Whitney Museum of American Art in New York, City. Embraced first by the visual art community working in SoHo in the early 1970’s, the early concerts performed by the Philip Glass Ensemble were considered visual as well as musical events and were often performed in art galleries, artist lofts, and museum spaces rather than traditional performing art centers.
Since that time, the members of the PGE are recognized as the premiere performers of Philip Glass’ compositions and continue to be an inspiration for new work. Over the past 30 years, the group has performed on four continents in some of the world’s most prestigious music festivals and concert venues. They have been featured in Philip Glass’ opera Einstein on the Beach as well as the music theater projects Hydrogen Jukebox; 1000 Airplanes on the Roof; The Photographer; La Belle et la Bête; and Monsters of Grace.
The Philip Glass Ensemble recently toured internationally with Philip on Film, a festival of film scores by Philip Glass and performed in concert with screenings of the original films: KOYAANISQATSI, POWAQQATSI, La Belle et la Bête, Dracula, and Shorts. On June 4 2004, in Athens, Greece, Glass premiered Orion, a new work for ensemble and world musicians commissioned by the Cultural Olympiad 2001-2004. Following its world premiere in Athens, Orion was performed at the Forest Theater in Thessaloniki, Greece; the Ravenna Festival in Ravenna, Italy; the Les Nuits De Fourviere in Lyon, France; and the Barbican Centre in London, England.
●THE PHILIP GLASS ENSEMBLE成員:
Philip Glass Composer & Keyboards
Kurt Munkacsi Sound Design (member since 1970)
Michael Riesman Music Director & Keyboards (member since 1974)
Jon Gibson Woodwinds (member since 1969)
Richard Peck Woodwinds (member since 1971)
Dan Dryden Live Sound Mix (member since 1983)
Lisa Bielawa Vocals & Keyboards (member since 1992)
Andrew Sterman Woodwinds (member since 1992)
Phillip Bush Keyboards (member since 2004)
Stephen Erb Live Sound Mix (member since 2004)
Frank Cassara Percussion (member since 2004)
Mick Rossi Percussion & Keyboards (member since 2004)
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