1000 Airplanes on the Roof by Philip Glass and David Henry Hwang is a “science fiction music drama” which premiered July 15, 1988 at the Vienna International Airport, Hangar No. 3. Set in New York City, the character “M” recalls encounters with extra-terrestrial life forms, including their message, “It is better to forget, it is pointless to remember. No one will believe you.” Are the surrealistic details an accurate recollection of a voyage through space, part of a drug-induced nightmare, or the beginning of a mental breakdown? This release from Third Angle New Music on Orange Mountain Music is the first complete recording of 1000 Airplanes on the Roof, featuring David Henry Hwang’s libretto performed by Ithica Tell as “M” and extended instrumental tracks. This project was made possible by the generous support of John T. Montague and Linda Hutchins, and is dedicated to the memory of John T. Montague.

Working on a new album with composer Philip Glass is a dream collaboration for Brisbane-based musician Tenzin Choegyal. Choegyal, who came to Australia as a refugee, has made a name for himself as a bit of a world music star. His friendship and collaborations with revered American composer Philip Glass has been a meaningful journey together. Glass, now 88, is a Tibetan Buddhist, like Choegyal, although Glass is more devout and spiritually accomplished, insists Choegyal.

When Philip Glass was asked to compose incidental music for a Broadway production of King Lear in 2019, he immediately knew he wanted to write for string quartet: “I know how to write for string quartet. I love its range of emotion.” Indeed, this concert version of the play’s score is his ninth work for string quartet, a medium he employs to great effect to depict the tumult, violence, and despair at the heart of Shakespeare’s classic tragedy.

"Orange Mountain Music presents ""Philip Glass Solo” a collection of Glass performing some of his most enduring and beloved piano works. Philip Glass Solo was recorded at a time when the world was undergoing a major shift—for Glass, that shift manifested in going from a busy tour and premiere schedule to time spent at home during the COVID-19 pandemic. The storied musician dedicated this time to revisiting some of his older piano music, occasionally reacquainting himself with these old friends, playing them for an audience of one in his home studio in New York.

Glassworks is a chamber music work of six movements by Philip Glass. Following his larger-scale concert and stage works, it was Glass's successful attempt to create a more pop-oriented "Walkman-suitable" work, with considerably shorter and more accessible pieces written for the recording studio. Glassworks was intended to introduce my music to a more general audience than had been familiar with it up to then. -Philip Glass

Come with KUMMERSPECK MUSIC on a journey. You will experience music like never before. With a diverse range of musical styles and genres, their work transcends the boundaries between sound and image.

Cutting-edge pianist meets trendsetting composer: Valentina Lisitsa, whose artistry has bewitched thousands of followers on YouTube, is releasing a double album selection of the most special pieces for solo piano by Philip Glass, whose brand of minimalism has made him one of the most influential composers of our time. Valentina Lisitsa plays Philip Glass brings together two artists with enormous followings, a truly winning combination. Minimalism has never been so big. Richly harmonic, this collection of definitive Glass is a deeply evocative listening experience, with revelatory performances from Lisitsa.

“Collaborating with a composer who is iconic was something else,” marvels Paul Leonard-Morgan of working with Phillip Glass on Amazon’s “Tales From the Loop.” The two composers tinkered around with musical ideas while Leonard-Morgan visited Glass in New York and “it was just an organic place from there.” The music for the series set in Mercer, Ohio, where residents live above “the loop” (which when unlocked, explores the secrets of the universe), soundtracks the town’s increasingly strange events, its sonic palette deftly avoiding sci-fi tropes.

The culmination of many years of friendship between two of the most important artists of our time, this composition serves as a tribute to the profound influence Glass and Close have had upon one another’s work as well as upon generations of other musicians and artists.

The newly discovered and unreleased concert from 1975 recorded by the Philip Glass Sextet at La Maison de Radio, Paris. The sextet is composed of Philip Glass, Jon Gibson, Dickie Landry, Michael Riesman, Joan La Barbara and Richard Peck.

Truth in Our Time complements American minimalist’s new symphony with compelling programming including Shostakovich’s Symphony No. 9, Korngold’s Violin Concerto, featuring James Ehnes, and potent contemporary works by Nicole Lizée and Yao.  "The concert was as much a capsule presentation of the orchestra as an institution as well as a performing ensemble. The NACO has a crisp, slightly light sound, sonorous but expressive through articulation, color, and agility rather than mass, and this suited all the pieces," New York Classical Review of the US Premiere at Carnegie Hall, April 2022

The music on this recital was specifically written or arranged for duo violinists Angela and Jennifer Chun. It highlights the personal and professional connections between Philip Glass and Nico Muhly, a longtime colleague and admirer of Glass's work. Glass's miniaturist works, Mad Rush and In the Summer House, create a maximum effect when paired with Muhly's minimalist Four Studies and Honest Music.