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Satyagraha is an opera which I wrote for the Netherlands Opera, so it uses an orchestra of around fifty, a chorus of forty, and there are about seven soloists. The opera ... Satyagraha means truthful, so it was a name [Mahatma] Gandhi used to describe his civil disobedience movement.

Philip Glass

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Philip Glass
Age: 87
Born: 1937
Born: January 31
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Philip Morris Glass
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More quotes by Philip Glass

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Theatrical times are different from concert times, to put it simply. Taking a figure like [Mahatma] Gandhi and setting him on a stage requires thinking about what theater is about and what the whole experience is about and what we're trying to communicate in that way, so you get into certain less abstract considerations.
Philip Glass
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The hardest thing about traveling is that mostly you get to a point - and it always happens on every tour - where you can choose between eating and sleeping, but you can't do both.
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I don't think I'm capable of making radical changes, but over a period of four or five years you can perceive very big changes, and they seem rather small at the time.
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What you hear depends on how you focus your ear. We're not talking about inventing a new language, but rather inventing new perceptions of existing languages.
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I'm interested in what happens to music when other people use it. Whereas there are composers who don't like anyone to touch their music, I think people should because they do things I can't think of.
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I think it's a great handicap to be discovered at an early age. I didn't have that burden of early success. I had the much more livable and durable career where success comes late, and comes slowly, and you ease into it. So by the time it comes, you're ready to deal with it.
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I like the idea that [Mahatma] Gandhi is appearing now in an opera hall in all these different places, and people kind of think about it again.
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If you don't have a basis on which to make the choice, then you don't have a style at all. You have a series of accidents.
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In order to arrive at a personal style, you have to have a technique to begin with.
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The work I've done is the work I know, and the work I do is the work I don't know. I don't know what I'm doing.
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I'd say the differences are more interesting than the similarities at this point. Certainly no one would ever mistake my music for Steve's [ Reich].
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I find that people can’t find you. It’s kind of quiet. When I go to a city, I can almost always get a piano if I need one. So there’s something nice about being on the road and focusing on something you want to do.
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But the difference between the little pieces and the big pieces - I'm not actually sure which are the little pieces. With some of the big pieces, it's a lot of musical running around, whereas the little pieces, you can say everything you want to say.
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I always knew what I wanted to do and I did it.
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You practice and you get better. It's very simple.
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I don't know that I make a big distinction between the big pieces and the little pieces, because I don't experience them in that way. I mean, by the same token, you're out touring with a band and then you're writing string quartets, and in a funny way, isn't it all the same, in a way? It's all just music.
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Traditions are imploding and exploding everywhere - everything is coming together, for better or worse, and we can no longer pretend were all living in different worlds because were on different continents.
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I, as a young guy getting out of music school, I didn't like the prospect of spending my life writing music for about 200 people.
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It doesn't need to be imagined, it needs to be written down.
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The generation of composers that are just preceded me, people like [Karlheinz] Stockhausen, [Pierre] Boulez, and, well, [John] Cage for that matter,[Morton] Feldman ... That was a kind of experimental music that was very isolated. It had no real public.
Philip Glass