Philip Glass Einstein On The Beach 4LP Box Set Tomato Music TOM-4-2901

$

38

Thank you for your consideration of my auction offering!!                             (Note: I am single owner of this LP)

Label/Catalog Number:  Tomato Music   TOM-4-2901

Philip Glass is an American composer and musician born 31 January 1937 in Baltimore, Maryland, USA.  He was married to JoAnne Akalaitis from 1965 to 1980. He studied music with William Bergsma, Vincent Pershichetti, Darius Milhaud and Nadia Boulanger. In 1966 he worked with Ravi Shankar, which changed his perspective on composition. In the fall of 1968, he founded the Philip Glass Ensemble to perform his music and in 1971 he started Chatham Square Production to release his music. "

Box set containing 4 LPs and 24 page booklet.
Recorded & mixed at Big Apple Recording Studios, New York, N.Y.
This recording of "Einstein on the Beach" contains all the music, lyrics and speeches from the original production of "Einstein on the Beach" as performed in Europe in the Summer and Fall of 1976 and at the Metropolitan Opera House in New York City in November 1976.

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Tracklist:

A1      Knee Play 1    
A2      Act I, Scene 1: Train    
B        Act I, Scene 2: Trial    
C1     Knee Play 2    
C2     Act II, Scene 1: Dance 1 (Field With Spaceship)    
D1     Act II, Scene 2: Night Train    
D2     Knee Play 3    
E        Act III, Scene 1: Trial/Prison    
F1     Act III, Scene 2: Dance 2 (Field With Spaceship)    
F2     Knee Play 4
     ---- Bass Vocals [Small Chorus] – Sean BarkerTenor Vocals [Small Chorus] – Philip Gavin Smith ----
G1     Act IV, Scene 1: Building/Train    
G2     Act IV, Scene 2: Bed    
H1     Act IV, Scene 3: Spaceship    
H2     Knee Play 5    

Companies, etc.
Recorded At – Big Apple Recording Studios
Mixed At – Big Apple Recording Studios

Credits:
    Alto Saxophone, Flute – Richard Peck
    Alto Vocals [Small Chorus] – Dora Ohrenstein
    Bass Vocals [Small Chorus] – David Anchel
    Chorus [Large] – Bruce Burroughs, Connie Beckley, Dana Reitz, David Woodbery, Forest Warren, Frank Conversano, George  
    Andoniadis, Grethe Holby, Jeannie Hutchins, Marc Jacobi, Marie Rice, Richard Morrison, Ritty Ann Burchfield, Ronald Roxbury
    Conductor – Michael Riesman
    Design [Box & Booklet Designed By], Illustration [Box Cover Illustration] – Milton Glaser
    Engineer [Assistant] – James Farber
    Engineer [Mixing] – Kurt Munkacsi, Michael Riesman
    Engineer [Recording] – Kurt Munkacsi, Roddy Hui*, Wieslaw Woszczyk
    Flute, Saxophone [Soprano], Clarinet [Bass] – Richard Landry
    Liner Notes – Philip Glass, Robert Palmer (3)
    Mastered By – Bill Kipper
    Mixed By [Sound Mix] – Kurt Munkacsi
    Music By, Lyrics By – Philip Glass
    Organ – Philip Glass
    Organ, Synthesizer [Bass], Keyboards [Additional] – Michael Riesman
    Performer – The Philip Glass Ensemble (tracks: A2, D1, D2, E, G1, H1)
    Photography By [Booklet Cover Photograph] – Richard Landry
    Producer – Kurt Munkacsi, Philip Glass
    Soprano Saxophone, Flute – Jon Gibson (2)
    Soprano Vocals [Small Chorus] – Iris Hiskey
    Tenor Vocals [Small Chorus] – Marc Jacobi
    Violin – Paul Zukovsky
    Voice – Iris Hiskey
    Voice [Actor] – Lucinda Childs, Paul Mann (2), Samuel M. Johnson, Sheryl Sutton
 
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Review: Einstein on the Beach    10/14/2013 by Todd McCarthy

For a work that is now 37 years old, "Einstein on the Beach remains challenging and utterly modern.

One of the most famous but little-seen American high art totems of the modern era, Einstein on the Beach, alit in Los Angeles for the first time for three performances over the weekend. Presented by L.A. Opera and defined as such by its creators, it is less an opera than an acute sensory occasion, an uninterrupted four-hour-plus cascade of pulsating Philip Glass music, extraordinary stage pictures courtesy of Robert Wilson, arresting movement and choreography by Lucinda Childs, and meanings that percolate, confound, sometimes bubble to the surface and often elude. For a work that is now 37 years old, it remains challenging and utterly modern. And quite something to behold.

Between its debut at the Avignon Festival in 1976 and the present incarnation, Einstein has been mounted just two other times -- in 1984 and 1992 -- and had ever been presented in the United States only in New York City and at Princeton. The 2012-14 tour started in Ann Arbor and made 10 previous stops (including Toronto, Brooklyn and Berkeley in North America) before the Los Angeles engagement. At this point, the only remaining destination is Paris in early January, and, as Wilson and Glass are both in their 70s, there can be little doubt that this will be the last time the venture will be undertaken by its creators.

What Einstein would be like interpreted by other hands is as puzzling as the most abstract and abstruse interludes in the work itself. Even now, this is a piece in which the spectator is neither encouraged nor expected to find literal or even symbolic meaning in anything in particular; one is advised just to go with it to avoid frustration and the accusation of being too conventionally minded. Why does a big locomotive steam engine come on- and offstage? Why do we spend several minutes watching a large illuminated beam be raised with agonizing slowness from a horizontal to a vertical position? What is the relevance of the two big courtroom scenes? What does Einstein being on the beach have to do with anything? Why is David Cassidy referenced numerous times? Did Clint Eastwood get his idea about the empty chair from the conspicuous one here?

As an Einstein virgin, these and dozens of other odd notions entered and collided within my head while I eventually settled into a state of what I can best gauge as moderate bliss. To a great extent, the mellow mood is created by Glass' score, which runs up and waterfalls down scales in endless repetitions that are nonetheless subtly altered and staggering to consider when being played onstage by violin virtuoso Jennifer Koh (made up with wild hair to resemble old Albert, a fiddle player himself), who concludes her tour de force by sticking out her tongue at the audience.

Glass' relentless arpeggios and propulsive energy creation, I decided in due time, represent the audible correlative to the constant bombardment of atoms, the nature and potential of which Einstein was forever weighing. The furious violin playing is the musical equivalent to Einstein's writing of formulas, while the assertive jazzy sax solo that ultimately erupts out of the mass of churning sound is Einstein's mental breakthrough and the explosion of the nuclear age.

Ultimately, it seems to me that the secret of "Einstein," what binds it together and makes it cohere, is the push-and-pull between the ultra-discipline and order of its artistry and the inchoate nature of its subject. Once I embraced the experience on those terms, much of the work seemed clear and the mysteries remained, well, mysteries. And exquisitely rendered ones at that, in a production where not a note, gesture, word, glance, prop, lighting cue or effect was out of place.

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