Philip Glass, Yo-Yo Ma - Naqoyqatsi (Score)

Director Godfrey Reggio's Hopi-inspired Qatsi trilogy is one of most ambitious and challenging film cycles ever attempted. With groundbreaking visuals, the non-verbal films examine--and inherently critique--the rapid transition from the natural order to a world dominated by human culture and technology. Critical to the films' success has been the music of Philip Glass, for whom the projects have variously represented an entrée into a rich film-scoring career and compelling motivation for expanding his minimalist technique. In the first two chapters (Koyaanisqatsi, 1983; Powaqqatsi, 1988), the composer's music gave poetic rhythm to the striking images of man and nature in conflict; here's he's ironically asked to be the human link to the film's cascade of oft impressionistic, digitally manipulated images. The result is some of the composer's warmest, most organically friendly music. Crucial to the soundtrack's success is the collaboration of master cellist Yo-Yo Ma, the extent of which (the musician's brooding, lyrical lines are the work's veritable arteries) elevates Glass's work to de facto Ma cello concerto. His work on the "Old World" and "New World" movements may well rank with some of his most haunting, validating Glass's sage, back-to-the future tack in the bargain. --Jerry McCulley Amazon.com

Best One of Series

Glass is great, but Yo-Yo Ma really makes this album a masterpiece. Much better than the others. Highly recommended. December 4, 2007

Another Philip Glass Hit

I haven't met a Glass production that I don't like. My only regret is that I didn't get to see this on screen.

Glass has a way of getting you involved in the music and scenery so you feel that you are there in the moment.

I'm sorry he stopped with a trilogy.

Cheryl Creech December 22, 2006

More of the Same from Glass

Why is it that every time Phillip Glass puts his hands down to make music, he always plays nearly the same thing? I am tired of hearing Glass milk the same scales and style he has been using over and over again for his whole career. If he only made one or two recordings in his life, then I would say he was near genius. But true genius always includes great variety doesn`t it? Yo-Yo Ma is more respectable in this sense, although I don`t care much for him either. Their music has very little edge. And when they attempt to write a soundtrack for such a deep film, they don`t harmonize with the images, but run counter to them. Glass music has seriously discredited all 3 of Reggio`s films. It is sad because Reggio is himself a master artist in full possesion of variety and genius. I am so tired of Glass though, real tired of hearing the same DUH DUH DUH every time! April 3, 2006

Ironically as the Qatsi trilogy becomes less interesting as it goes on Philip Glass's score becomes better

Philip Glass's music fit perfectly into Godfrey Reggio's brillant classic Koyaanisqatsi but on it's own it's repetitive intensity could drive you to insanity.In the second lesser film Powaqqatsi Glass got to use more variety as the film jumped from country to country making for a more satisfying soundtrack.Now with Naqoyqatsi Philip Glass using Yo Yo Ma and his cello for added haunted emotion has created a rich soundtrack more interesting than anything in the film itself!From the slow eerie opening Naqoyqatsi to the epic nightmarish Intensive Time the old Glass motives are here but expanded upon nicely.Unlike Koyaanisqatsi the music achieves a feverish intensity without becoming a redundant drone.Naqoyqatsi is definitely not easy listening it's a musical rollercaster ride that demands and deserves total attention.Academy voters missed out by not nominating Glass's most ambitious score.If you're a music fan Naqoyqatsi is a listening experience you shouldn't miss. March 5, 2006

Philip Glass' Greatest Work!

In composing music for the innovative Qatsi trilogy, Philip Glass has created some truly great soundtracks. While Naqoyqatsi is probably the weakest film, the music is not only the best of the trilogy, but also one of Glass' best works, period. Working with cellist Yo-Yo Ma, Glass creates, what one reviewever accurately defined as "The first great cello concerto of the 21s century." He integrates his revolutionary minimalist style with more familiar mediums to create an audio journey, that, unlike the first two soundtracks, can be appreciated without ever having seen the film. Highlights include the title track, with signature choral tones, the busy Primacy of Number, the marchlike Massman, the lighthearted Religion, the daring highlight Intensive Time, and the beautiful cello work The Vivid Unknown. February 27, 2006

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