![]() In 1993, Glass completed his Low Symphony, a work taking inspiration from the Low album released by David Bowie in 1977. 1 and 4, though multi-movement orchestral works, are distinguished by having drawn their inspiration from decidedly non-Classical sources. 5 and 7 are large-scale choral works, symphonic in designation only. 6 a setting of Allan Ginsberg’s Plutonium Ode, while Nos. 3 is a compact work for string orchestra, No. 2 and 8) are full-length abstract designs. The symphonies evince a wide range of approaches to the genre. Already in 1987 his Violin Concerto gave notice of a new interest in the forms and procedures of the Classical and Romantic eras, an interest that has led to eight symphonies and a number of independent orchestral works. The result is a symphonic ballet – a transformation of the original themes combined with new material of my own and presented in a new dramatic form.Īlthough he remains best known for the works written for his own ensemble (above all, Music in Twelve Parts of 1974) and works for the stage, not least the trilogy of operas written in collaboration with Robert Wilson, Einstein on the Beach (1975), Satyagraha (1980) and Akhnaten (1984), orchestral music has been at the forefront of activities for Philip Glass for much of the last two decades. Accordingly, I set Heroes as a six movement work, each movement based on a theme from Heroes, with an overall dramatic structure that would be suitable for dance. We suggested this to David, who immediately shared Twyla’s enthusiasm for the Idea. She suggested I think of Heroes as a ballet score for her new dance company. I mentioned the new work I was doing to Twyla Tharp, the American choreographer with whom I had worked on In the Upper Room, a dance work for her company. Using themes from Heroes I have made a new composition which hopefully will reintroduce this music to today’s listeners. In a series of innovative recordings in which influences of world music, experimental ‘avant- garde’ were used, they were re-defining the language of music in ways which can be heard even today.Īlmost twenty years later, I have gone back to their original material, using it as a point of departure and inspiration, much as composers of the past have based their work on their contemporaries. During that period David and Brian were attempting to extend the normal definition of pop and rock and roll. Musician Steve Adey covered the track on his 2017 LP "Do Me a Kindness".“Heroes” Symphony, like The Low Symphony of several years ago is based on the recording of the same name made by David Bowie and Brian Eno in the late 70s.Philip Glass – "Heroes" Symphony (1996).A picture disc release appeared in the RCA Life Time picture disc set. ![]() It was released as the B-side of the single " Beauty and the Beast" in January 1978, a pairing that NME editors Roy Carr and Charles Shaar Murray considered "must be good fun on pub juke-boxes".Performances from the 1978 "Heroes" tour have been released on Stage (1978) and Welcome to the Blackout (2018)."Sense of Doubt" was performed on the Italian TV programme L’altra domenica in 1977 and throughout the "Heroes" tour in 1978. Brian Eno suggested that the contrasting themes were the result of him and Bowie each following an Oblique Strategies card to guide them in the track's overdubbing, Eno's directing him to "make everything as similar as possible" and Bowie's to "emphasize differences". It was the first of three instrumentals on Side Two of the original vinyl album that segued into one another, preceding " Moss Garden" and " Neuköln".Ĭited as "portentous" and "thoroughly foreboding", "Sense of Doubt" is one of the darker tracks of the album, with a descending four-note piano motif juxtaposed with "an eerie synth line like a scrap of sound from a silent expressionist-era soundtrack". ![]() " Sense of Doubt" is an instrumental piece written by David Bowie in 1977 for the album "Heroes". 1977 instrumental by David Bowie "Sense of Doubt"
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