321:", a policy largely initiated, if only indirectly, by the team's journey. Glass achieves this goal by infusing into the third movement a fully energetic high-point, with possible variation on American folk songs, a tradition from which the composer sometimes takes influence. The common use of long, sweeping major and minor chords can be interpreted as a tactic used to create the "distant" feel of the expedition, as well as the comparative strangeness of the world explored by the travelers. This stratagem is also employed as a conveyance of the apprehension the Americans probably felt, in addition to their presupposed feelings regarding the cultural differences of Western and Native American societies.
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exchange; these are meant to symbolize the productivity of the relationship as well as potential disagreements (both logistical and cultural) that the party may have had, respectively. The second movement is also notable in that it shows a distinct change in Glass' style, a statement supported by the fact that the piano mentions the characteristic triplet construction used by Glass in most of his work only once; this is stated as a connector into the final touches of the movement.
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255:. Playing the prominent flute part of the second movement was R. Carlos Nakai. The Omaha Symphony Orchestra provided for the rest of the scoring commands; the orchestra was conducted by Victor Yampolsky. The premiere was a success, although, due to its youth as a concerto, the work has not received the full scope of musical attention given to that of Glass' earlier work.
188:; Glass intends to indicate an amount of raw energy required for a "remarkable expedition" like that of the two men. Glass also wishes to convey a sense of structure and order, symbolizing the resolve of travelers; he does so by strictly controlling the energy expressed in the music, but allowing it to spark the thoughts of the listener beyond the confinement of rhythm.
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which continuously plays a growingly frantic two-note combination without resolution. Abruptly ending, the climax turns into a recapitulation of the original "Sacagawea" theme. The second part concludes with the lonely flute performing long, simple notes, and the piano playing almost indiscernible C major chords.
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begins to escalade until it reaches a climactic moment in the concerto, a point of unforeseen energy and enthusiasm. This is recapitulated multiple times before the movement reverts to its original minor mode introductory material. The concerto finishes with piano solo, sadly playing low F minor chords.
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The concerto is in such a format so as to convey a sense of movement, both in the music and its depiction, the expedition. The soloist premiering the piece, Paul Barnes, comments: "'The Land' is a gloriously expansive theme and variation reflecting the great vastness of the land explored by Lewis and
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The final part of the work is, perhaps, its most important. Glass comments: "I wanted this final movement to reflect also the expanse of time - what the land was before the expedition and what it became after." Glass emphasizes progression in this movement; this may be interpreted, in light of Glass'
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midwest. The movement opens with piano repetitions; the flute, joining quickly in the movement, proclaims an eerie theme. This suddenly shifts into a mild, playful exchange in which the piano and flute form a quick duet; this in turn develops into a climax, where shimmering strings support the flute,
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The opening movement begins with a broad statement by the piano and orchestra, working in unison to form a collaboration of orchestral minor chords and a whirling series of piano triplets shifting between minor and major modes. The agitated introduction settles onto a simple but expressive main theme
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The second part is only scored for flute, snare, strings, and naturally piano. Not only does Glass attempt to make an audible representation of
Sacagawea, but he also makes a clear effort to emphasize the relationship between the figures. The times of playfulness are distinct from those of sombre
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The final movement begins quietly. All of the instruments excluded from the preceding movement are reintroduced. After a series of sullen string lengths, as well as quick woodwind undertone, the piano enters the movement uncommonly late-more than two minutes into play. After some time, the work
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written three years before, many differences. For example, the abovementioned flute involvement in the second movement displays almost no pertinence to minimalism: the part is varied and unpredictable, a clear distinction between the assumed minimalist norm and the actual piece. Similarly, the
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Although Philip Glass dislikes the term "minimalist," most of his work is categorized that way by the public; the Piano
Concerto No. 2 is an example of a break from minimalism, in accordance with the composer's opinion of his own music (which he calls "classicist").
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opening movement makes heavy use of abruptness and unclear musical expression; although this is arguably a decisively modern musical trait, it is incongruous with the current mode of minimalism. The piece is also considered to be an experimentation with
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2004: Paul Barnes (piano) and Ralf GothĂłni (with
Northwest Chamber Orchestra), recorded 2006, released 2006 on The Concerto Project Vol. II (Orange Mountain Music) as "Piano Concerto No. 2: After Lewis and Clark"
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Although the repetitiveness which is associated with Glass' branch of minimalism (particularly in that of the triplet) is present in the concerto, there are, as in the progressively separatist
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words, to be a movement of the country in and of itself, its successes and failures, and most importantly its
Western expansion which was begun by the Lewis and Clark expedition.
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is a series of concerti written and collected by Glass in four volumes. This concerto was chosen to be included in Volume II of the collection. It is paired with the
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punctuated by the tambourine. After a short while the piece quietens into a quick piano solo, which soon develops into a mellow exchange between the piano and
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The work is in the standard three-movement concerto format, with the traditional fast-slow-fast tempo changes. As he discussed in regard to his earlier
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Note that this orchestration is relatively small-scale in comparison to much of Glass' other symphonic work.
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The concerto premiered in 2004 at the Lied Center for
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The subject matter of the first movement concentrates on the possibilities of the
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The second movement is characterized by a soft flute theme representing
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on that disc. The recording of the work on the program is as follows:
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Sacagawea, the subject of the second movement. Sculpture in
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38:Piano Concerto No. 2: After Lewis and Clark
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75:The work is scored for the following
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380:Glass' Website: Piano Concerto No. 2
331:List of compositions by Philip Glass
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205:Washington Park (Portland, Oregon)
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1030:Philip Glass Buys a Loaf of Bread
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31:was written by American composer
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346:Concerto for Cello and Orchestra
312:Representation of the expedition
300:Concerto for Cello and Orchestra
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35:in 2004. It is also called the
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739:Waiting for the Barbarians
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289:Relation to minimalism
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1159:American Four Seasons
1122:After Lewis and Clark
989:Dennis Russell Davies
967:Philip Glass Ensemble
920:American Four Seasons
913:Violin Concerto No. 1
896:After Lewis and Clark
690:Les Enfants terribles
606:Einstein on the Beach
526:Music in Twelve Parts
425:"www.philipglass.com"
400:"www.philipglass.com"
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1205:Harpsichord Concerto
927:Cello Concerto No. 1
903:Harpsichord Concerto
760:The Perfect American
732:The Sound of a Voice
549:String Quartet No. 4
539:String Quartet No. 2
511:List of compositions
352:The Concerto Project
261:The Concerto Project
179:First Piano Concerto
29:Piano Concerto No. 2
718:In the Penal Colony
697:La Belle et la BĂŞte
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1245:2004 compositions
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994:David Henry Hwang
704:Monsters of Grace
588:Aguas da Amazonia
463:on July 27, 2010.
445:on July 27, 2010.
192:Second movement:
79:-size orchestra:
43:American pioneers
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641:The Juniper Tree
620:The Photographer
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23:Philip Glass
1019:Terry Riley
1014:Steve Reich
941:Film scores
711:White Raven
363:Paul Barnes
306:World music
253:Paul Barnes
1229:Categories
1184:Naqoyqatsi
777:Symphonies
746:Appomattox
676:The Voyage
613:Satyagraha
533:Glassworks
410:2011-06-06
386:References
358:Minimalism
160:The Vision
128:tambourine
120:snare drum
53:in Glass'
1087:Concertos
878:Concertos
767:The Trial
560:The Light
368:Sacagawea
216:Sacagawea
194:Sacagawea
168:woodwinds
146:Structure
135:and solo
116:Bass drum
77:Classical
1047:Category
808:"Heroes"
627:Akhnaten
567:Passages
325:See also
284:Analysis
279:(35:26).
259:Part of
247:Premiere
233:The Land
92:clarinet
51:concerti
1157:No. 2 (
1120:No. 2 (
1111:No. 1 (
949:Dracula
543:Company
172:cadenza
133:Strings
124:cymbals
106:trumpet
100:bassoon
952:(1999)
868:Lodger
864:No. 12
859:No. 11
854:No. 10
838:Toltec
818:Choral
753:Kepler
683:Orphée
598:Operas
574:Itaipu
553:Buczak
108:, two
98:, one
94:, one
90:, one
1179:No. 1
1152:No. 1
1129:No. 3
1113:Tirol
887:Tirol
849:No. 9
844:No. 8
834:No. 7
824:No. 6
814:No. 5
804:No. 4
799:No. 3
794:No. 2
784:No. 1
137:piano
110:horns
88:flute
266:The
112:in F
104:One
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