Philip Glass - Best Of

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• 7:04 Philip Glass - Changing Opinion • 32:17 Philip Glass - Facades • 52:45 Philip Glass-Metamorphosis/Metamorphosis Four • 59:51 Philip Glass-Satyagraha: Act II • 1:10:23 Paul Esswood-Window Of Appearances from Akhnaten

Philip Morris Glass (born January 31, 1937 is an American composer. He is considered one of the most influential music makers of the late 20th century. His music is also often controversially described as minimal music, along with the work of the other "major minimalists" La Monte Young, Terry Riley and Steve Reich.
Glass has distanced himself from the "minimalist" label, describing himself instead as a composer of "music with repetitive structures." Though his early mature music shares much with what is normally called "minimalist", he has since evolved stylistically.Currently, he describes himself as a "Classicist", pointing out that he is trained in harmony and counterpoint and studied such composers as Franz Schubert, Johann Sebastian Bach and Wolfgang Amadeus Mozart with Nadia Boulanger.
Glass is a prolific composer: he has written works for the musical group which he founded, the Philip Glass Ensemble (with which he still performs on keyboards), as well as operas, musical theatre works, ten symphonies, eleven concertos, solo works, chamber music including string quartets and instrumental sonatas, and film scores. Three of his film scores have been nominated for Academy Awards.

Music for film
Glass has composed many film scores, starting with the orchestral score for Koyaanisqatsi (1982), and continuing with two biopics, Mishima: A Life in Four Chapters (1985, resulting in the String Quartet No. 3) and Kundun (1997) about the Dalai Lama, for which he received his first Academy Award nomination.
The year after scoring Hamburger Hill (1987), Glass began a collaboration with the filmmaker Errol Morris with his music for Morris's celebrated documentary The Thin Blue Line. He continued composing for the Qatsi trilogy with the scores for Powaqqatsi (1988) and Naqoyqatsi (2002). 

In 1995 he composed the theme for Reggio's short independent film Evidence. He made a cameo appearance—briefly visible performing at the piano—in Peter Weir's The Truman Show (1998), which uses music from Powaqqatsi, Anima Mundi and Mishima, as well as three original tracks by Glass. In the 1990s, he also composed scores for Bent (1997) and the thriller Candyman (1992) and its sequel, Candyman: Farewell to the Flesh (1995), plus a film adaptation of Joseph Conrad's The Secret Agent (1996).
 
In 1999, he finished a new soundtrack for the 1931 film Dracula. The Hours (2002) earned him a second Academy Award nomination, and was followed by another Morris documentary, The Fog of War (2003). In the mid-2000s Glass provided the scores to films such as Secret Window (2004), Neverwas (2005), The Illusionist and Notes on a Scandal, garnering his third Academy Award nomination for the latter. Glass's most recent film scores include No Reservations (Glass makes a brief cameo in the film sitting at an outdoor cafe), Cassandra's Dream (2007), Les Regrets (2009), Mr Nice (2010) and the Brazilian film Nosso Lar (2010). In 2009 Glass composed original theme music for Transcendent Man about the life and ideas of Ray Kurzweil by filmmaker Barry Ptolemy.
 
In the 2000s Glass's work from the 1980s again became known to wider public through various media. In 2005 his Concerto for Violin and Orchestra (1987) was featured in the surreal French thriller, La Moustache, providing a tone intentionally incongruous to the banality of the movie's plot. Metamorphosis: Metamorphosis 

One from Solo Piano (1989) was featured in the reimagined Battlestar Galactica in the episode "Valley of Darkness", and 

in 2008, Rockstar Games released Grand Theft Auto IV featuring Glass's "Pruit Igoe" (from Koyaanisqatsi). "Pruit Igoe" and "Prophecies" (also from Koyaanisqatsi) were used both in a trailer for Watchmen and in the film itself. Watchmen also included two other Glass pieces in the score: "Something She Has To Do" (from The Hours) and "Protest (Act II Scene 3)" (from Satyagraha).