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  • Glass's career-making 1976 opera, a collaboration with avant-garde impresario Robert Wilson, was revolutionary then, revered now. "It's not (just) an artifact of its era, it's timeless," says the New York Times. "Einstein must be seen and re-seen, encountered and savored ... an experience to cherish for a lifetime." This "properly hypnotic" 1993 recording, says the Washington Post, is "more complete than the first recording and superior in both performance and sound." The three-CD set was reissued in January 2012 to coincide with Glass's 75th birthday and a rare international tour of the opera.

  • Glass's career-making 1976 opera, a collaboration with avant-garde impresario Robert Wilson, was revolutionary then, revered now. "It's not (just) an artifact of its era, it's timeless," says the New York Times. "Einstein must be seen and re-seen, encountered and savored ... an experience to cherish for a lifetime." This "properly hypnotic" 1993 recording, says the Washington Post, is "more complete than the first recording and superior in both performance and sound." The three-CD set was reissued in January 2012 to coincide with Glass's 75th birthday and a rare international tour of the opera.

  • This 10-disc compilation surveys 40 years of the iconic artist's work: groundbreaking early solo pieces, the revolutionary Einstein on the Beach, film scores, etudes, symphonies, and much more. The elegantly designed "interim report," as critic Tim Page writes in his liner note, traces the evolution of "the first composer to win a wide, multi-generational audience in the opera house, the concert hall, the dance world, in film and in popular music—simultaneously."

  • Glass’s ravishing, Oscar- and Grammy-nominated score was a key element in this acclaimed triptych of dramatic tales starring Meryl Streep, Nicole Kidman, and Julianne Moore. “The inter-cutting of personal stories over a wide span of time, “ says NPR, “is held together by a single music approach.”

  • This 2001 five-disc set compiles some of Philip Glass's most innovative work for film, including his groundbreaking soundtrack to Koyaanisqatsi; new scores created for Tod Browning's Dracula and Jean Cocteau's La Belle et la Bête; excerpts from Mishima and Kundun; and sought-after pieces written for short films.

  • Approaching the new millennium, Glass contemplated nothing less than "the process of global evolution" in this stirring, ambitious work. He employs sacred texts of many faiths as his libretto, addressing, says the New York Times, "love, evil, suffering, compassion, death, judgment, and paradise.”

  • This 1995 work for the Stuttgart Chamber Symphony, notes the Minneapolis Star-Tribune, shows Glass moving "away from slowly changing patterns to greater expression and orchestral color ... Certainly his mastery of string writing is abundantly clear." Also included are scenes from the opera The Voyage, marking the 500th anniversary of Columbus's arrival in the New World; excerpts from the 1984 Robert Wilson collaboration the CIVIL warS; and the world-premiere recording of The Light.

  • Kronos Quartet performs Glass's new original score for Tod Browning's classic 1931 Dracula, starring Bela Lugosi. "Glass's music doesn't scream," says the Boston Herald. "It sobs—and hits the heart as directly as, well, that vampire-destroying wooden stake." This recording is no longer available from Nonesuch Records.

  • Philip Glass, Robert Wilson, Laurie Anderson, Dennis Russell Davies—innovators all in their respective disciplines of music composition, stage direction, performance art and conducting—combine their prodigious talents in the first recording of the Rome Section, Act V of Robert Wilson's epic the CIVIL warS, inspired by the Matthew Brady photographs of America's fratricidal conflict.

  • Godfrey Reggio's hypnotic, wordless film Koyaanisqatsi contrasts natural wonders with environmental devastation. This new recording (1998) of the complete score conveys "the expansive pace, grand sweep and formal integrity that were the essence of both the film and the music," says the New York Times.

  • Three new works by Philip Glass received their first recordings on this Nonesuch recording, all of them conducted by the composer’s long-time advocate Dennis Russell Davies. Symphony No. 2 is a study in polytonality; the Concerto for Saxophone Quartet, surely one of the few such works of its kind, features a different member of the quartet in each of four movements; the “Orphée” interlude is drawn from the first opera of Glass’s Cocteau trilogy.

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