WILL STONE is frustrated by a performance that chooses to garble the lyrics and drown the songs in reverb
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Philip Glass: The Bowie Symphonies, Royal Festival Hall, London
David Bowie’s music is brought hauntingly to life by the master of minimalism
For all time: Philip Glass
[MITO SettembreMusica]
RITA DI SANTO points out the social experience of exploitation and oppression that inform the popular winners at this year’s festival
PETER MASON is tickled by a new book and exhibition that mine the rotten anachronism of the monarchy for laughs
A Nazi zeppelin whodunnit, death amidst detoxification, a twistaholic’s delight, and noir fiction for criminals
STEVE JOHNSON salutes the mellifluous tones and clear-minded political message of a uniquely relevant Birmingham-born singer-songwriter
STEVE ANDREW enjoys an account of the many communities that flourished independently of and in resistance to the empires of old
TOM STONE urges you to catch the last dates of a New York singer/songwriter, never afraid to challenge her audiences musically or politically
IN SPITE of their strikingly different styles in music as well as life, Philip Glass and David Bowie were nevertheless well acquainted creatively.
Glass began to turn his prodigious talents in the direction of Bowie’s work back in 1992, when he composed Symphony No. 1 (Low), drawing on Bowie’s album 1977 album of the same name, which the US composer described as a “work of genius.”
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