Knee 3 composé par Philip Glass

Knee 1 monté par Robert Wilson

(coursebook, page 515)

  • John Rockwell, New York Times, 1979
  • 1976, Avignon, France.
  • "Einstein" crosses the conventional barriers effortlessly, without any artificial straining toward "fusion" music. [...] "Einstein" represents a genuine fusion - new music that stays true to itself yet appeals in different directions.
  • So powerful are those pictures that some people - even long time devotees of Mr. Glass`s music- were confused at the time as to just what the relative impact of the stage pictures and the music was.
  • 270 à 163
  • Admirateurs de Philip Glass VS Amateurs de rock, jazz et disco.
  • Ultimately, all music appeals to a similar set of instinctual, emotional and intelectual responses within people: rhythm, melody, harmony, texture, structure and extra-musical implications all figure into our reaction to anything we hear. Mr. Glass`s music has the force to make those shared basics manifest, to reshape its hearers into a new and devoted kind of audience. That`s been the power of all great music of the past, and there can be little doubt that "Einstein on the Beach" offers some sort of greatness for the present.

Einstein on the Beach au MET

Robert Wilson
Né en 1941, à Waco, Texas.

Philip Glass
Né en 1937, à Baltimore, Maryland.


Le texte

Extrait de Knee 1

Would it get some wind for the sailboat. And it could get for it is.
It could get the railroad for these workers. And it could be were it is.
It could Franky it could be Franky it could be very fresh and clean
It could be a balloon.
All these are the days my friends and these are the days my friends.

by Christopher Knowles