Philip Glass, Michael Riesman, Ellen Edinoff, Koert Stuyf: Music for film and dance

Philip Glass’ Music with Changing Parts returns to London after a 48-year hiatus.

Philip Glass performs his music to the film Dracula, alongside the Kronos Quartet at the Philharmonie de Paris.

When I first saw Jean Cocteau’s 1946 cinematic masterpiece La Belle et la Bête on DVD several years ago, its visual storytelling made such a strong impression that a few of its images became unforgettably burned into my memory: disembodied hands grasping candles, statues that blinked, and the Beast himself, a giant kitty-cat who was more pathetic and sad than terrifying.

It isn’t so much that Einstein on the Beach is impossible to summarise, I don’t think, as that it’s just impossible generally. At least, if you were to list this opera’s various constituent elements to somebody, and ask them if it was basically plausible, they would probably say no. Suffice it to say the following: it is four and a half hours long and there is no interval.

Philip Glass performs his music to the film Dracula, alongside the Kronos Quartet at the Philharmonie de Paris.

While Glass' latest music has managed to package and sell a form of experimentalism to the masses, it also sparks debate about style versus substance.