"What the young Glass heard which lay beyond his conservatory hermeticity was RHYTHM, long out of fashion in the world of American academic post-Webernism, with its almost exclusive concern for harmonic organization. Indian music is based on melody, which would get you laughed at Princeton or Columbia, and rhythm, which, despite Stravinsky's efforts in works like "Le Sacre du Printemps" or "Les Noces" was considered "incidental" to constructing 12-tone rows and other serious contrapuntal matters.
Passages (1990)Music by Philip Glass and Ravi Shankar
Private Music 2074-2-P
|3.||Channels and Winds||7:56|
|4.||Ragas in Minor Scale||7:32|
|5.||Meetings Along the Edge||8:05|
Sadhanipa: The title based on the solfege notes (svaras): "SA DHA NI PA" from the Indian octave (saptaka) based on the first four tones of the Glass melody: "Do La Ti So" (D-B-C-A). An opening "ad lib" trumpet statement, echoed in the bass bamboo flute. Then the chamber orchestra develops the theme in 4/8-6/8-7/8. The Finale recapitulates the original Glass theme.
Channels and Winds: is an intrumental work with vocalists in A-B-A-B-A-B form which was conceived as a bridge between the two Shankar compositions based on the Glass melodies.
Ragas in Minor Scale: The Glass theme is introduced, after the veena introduction, by the cello. The opening section is in 6/8, middle section 4/8, closing in 4/8.
Meetings Along the Edge: A fast-paced work based on: 1) a "Middle Eastern" sounding Shankar theme in 7; 2) a seconf theme also by Ravi and also in 7 but of a somewhat different lenght; 3) A Glass theme in 4. Glass also added an Introduction and other rhythmic ideas. The themes are stated, blended and combined in the Finale.
Prashanti (Peacefulness): An extended orchestral work in two parts: Musical depiction of joyful people living in harmony. Slowly, greed, envy, hatred and violence creep into their contented lives. Out of this chaos a voice sings out in Vedic prayer: