Cappella Amsterdam & Lavinia Meijer

Philip Glass

Sometimes you hear music that you do not simply follow, but that carries you along. The music of Philip Glass does exactly that. A rhythm begins, and before you know it, you find yourself in a sound world that slowly shifts.

In this programme, the music of Philip Glass takes centre stage, performed by Cappella Amsterdam under the direction of Cyrille Nanchen, together with harpist Lavinia Meijer. Glass’s clear, repetitive and immediately recognisable style forms the starting point of the evening. Excerpts from operas such as Akhnaten and Einstein on the Beach, film music from Koyaanisqatsi, and a solo work for harp reveal different facets of his oeuvre.

At the same time, the selected works by Glass are placed within the broader musical landscape of minimal music, alongside compositions by, among others, Caroline Shaw. These works share a similar focus on sound, structure and pattern.

In this way, a programme emerges in which harp and choir both alternate and complement one another: from intimate solos to serene a cappella moments, and from reflective passages to more rhythmic sections.

conducter Cyrille Nanchen harp Lavinia Meijer piano Feico Deutekom percussion Yifan Du
programme Caroline Shaw - How to fold the wind (No. 1 In the Beginning, No. 2 In Creases & No. 3 Inhale) | David Lang - Again | Philip Glass - Akhnaten: The Funeral en The Temple (arr. L. Meijer, F. Deutekom) | Philip Glass - Metamorphosis II: Flowing (arr. L. Meijer) | Philip Glass - Songs from Liquid Days: Freezing (arr. L. Meijer, F. Deutekom) | Philip Glass - Koyaanisqatsi: Vessels (arr. L. Meijer, F. Deutekom) | Philip Glass - Similar Motion (arr. L. Meijer, F. Deutekom) | Philip Glass - Einstein on the Beach: Knee Play III | Philip Glass - Hydrogen Jukebox ( #5 from Crossing Nations, #15 from The green automobile, #16 from N.S.A. Dope Calypso & #13 from Nagasaki Days (Everybody’s Fantasy))

Whether this performance has an interval is not yet known.