目录
| # | 曲目 | 时长 |
|---|---|---|
|
1 |
Suite from “The Hours” (Arr. for Piano, Strings, Harp and Celesta by Michael Riesman): Movement I | 00:11:16 |
| 2 | Suite from “The Hours” (Arr. for Piano, Strings, Harp and Celesta by Michael Riesman): Movement II | 00:08:59 |
| 3 | Suite from “The Hours” (Arr. for Piano, Strings, Harp and Celesta by Michael Riesman): Movement III | 00:06:56 |
| 4 | Piano Concerto No. 1 (Tirol Concerto): Movement I | 00:06:27 |
| 5 | Piano Concerto No. 1 (Tirol Concerto): Movement II | 00:16:40 |
| 6 | Piano Concerto No. 1 (Tirol Concerto): Movement III | 00:06:33 |
专辑简介
When I think about the music of Philip Glass, I think about time. The music is intricate and polyphonic. It’s layered, with patterns that keep shifting in the subtlest of ways. Though the harmonies are clearly important in the musical narrative, Glass’s music is multi-linear in a way that evokes the music of Bach. It is music on the horizontal, as opposed to the vertical. If anything, it is circular music.
