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Philip Glass / Donald Joyce - Glass Organ Works - Music Of Philip Glass MP3 FLAC

Philip Glass / Donald Joyce - Glass Organ Works - Music Of Philip Glass MP3 FLAC
Philip Glass / Donald Joyce
Glass Organ Works - Music Of Philip Glass
Modern Classical
14 Sep 1993
Catalyst, BMG Classics
FLAC size:
1524 mb
MP3 size:
1718 mb
WMA size:
1187 mb


1Contrary Motion12:07
2Dance 4 For Organ20:31
3Dance 2 For Organ24:25
4Satyagraha (Act III Conclusion)
Arranged By – Michael Riesman
5Mad Rush10:40


CategoryArtistTitle (Format)LabelCategoryCountryYear
09026-61825-2Philip Glass / Donald Joyce Philip Glass / Donald Joyce - Glass Organ Works (Music Of Philip Glass) ‎(CD, Album, RP)Catalyst, BMG Classics09026-61825-2EuropeUnknown
09026-61825-2, 09026 61825 2Philip Glass - Donald Joyce Philip Glass - Donald Joyce - Glass Organ Works (Music Of Philip Glass) ‎(CD, Album)Catalyst, Catalyst09026-61825-2, 09026 61825 2Europe1993


  • Art DirectionAbie Sussman
  • EngineerAnthony Salvatore, Phil Gitomer, Sean McClintock
  • Executive-ProducerTim Page
  • Liner NotesDonald Joyce, Tim Page
  • Music ByPhilip Glass
  • OrganDonald Joyce
  • Photography By [Cover]Chip Forelli
  • Photography By [Photo Of Donald Joyce]Bernardo Arcos
  • ProducerAndré Gauthier
  • Technician [Organ Maintenance]Richards, Fowkes & Co.


Recorded 13-15 April 1993 on the Anton Heiller Memorial Organ.

Total playing time 77:36


  • Barcode (Scanned): 090266182527
  • Barcode (Text): 0 9026-61825-2 7
  • Rights Society: ASCAP
  • Other (SPARS Code): DDD


  • Phonographic Copyright (p) – BMG Music
  • Copyright (c) – BMG Music
  • Manufactured By – BMG Music
  • Distributed By – BMG Music

  • Hugifyn
I produced this recording and need to correct one thing and also tell a bit about its creation.

The "Genre" that is listed here on Discogs whether selected by Discogs, BMG/RCA/Catalyst or any other entity that provided information about this CD, is wrong. It is labeled "electronic". It is completely the opposite. The music as played is based on 17th century mechanical technology. That was the point of using the organ that I will describe to the reader now.

I had thought that we would be using one of New York City's better organs; something that thundered and snarled. But once I had read the music and spoken to the organist Donald Joyce, I knew that just the opposite type of organ was required. There were only a few real "trackers" that is, fully mechanical organs, that could be found anywhere in New York State that also had the right accoustics surrounding it. I never expected to find our treasure in, of all places, a small town in Tennessee named Collegedale. It is located about 40 miles N/E of Chatanooga, TN, if that helps. Donald found our tracker in the Collegedale Church after getting a tip from a friend. Six months had passed before the discovery was made. It was the "Heiller Memorial Organ" made by Brombaugh. This instrument was hand built and required 48,000 man hours to complete both in the Brombaugh shop and the church itself. This tracker is a fully mechanical organ. It contains 4,861 pipes, 70 completely manual (mechanical) stops. The "stops" are 10 inch long pieces of 1 inch square wood with a handle attached that is located on the outside of the organ; one pulls or pushes them out or in to open or close a diffent set of selected pipes and ranks of pipes through which the air flows. The actual pitches are controlled from four (yes four) 56 note mechanical keyboards (also called manuals), and lastly there is a mechanical 30 pedal board for the lowest notes. Electricity is only used to power a blower that fills two wedge shaped bellows. So one can easily see this is about as far from an electronic instrument or sound as one can achieve from an organ.

During the recording in the Spring of 1993 we "set up" for two days prior to actually recording anything for posterity (I did keep all the practice hours on tape just in case, but they were never needed.) Getting all the requisite sounds from the organ meant that we all worked from 10PM to 6AM as the sun rose. While this was ultimately a bit exhausting, it paid off because we were far off in the woods, and no external noises interfered with our work. We used David Hewitt's large soundtruck with a full 32 track Neve mixing board. (His company, Remote Recordings is credited in many live TV events as well as CD recordings.)However, we used only 3 microphones throughout the entire process. The recording method was actually that of the early days of stereo when 3 tracks were all that could be lain down at any one time. Left, Middle, Right. We chose six newly refurbished Neumann M-50 microphones which gave us a very clear "sonic picture" of the organ, (no more than 3 were ever in use, the others were for backup purposes and were turned on at all times in case we had to suddenly "change out" a faulty main mic. We recorded from about 70 feet away from the organ at a height of approximately 30 feet.

Balances between the various registrations took a very long time to choose and to integrate into a whole and each change was compared to the previous one by having everyone listen back after we had recorded a few variations. This alone took a day and a half to coax out the sounds that we felt were best at each point in a given piece. We then recorded for three days. We rarely deviated from our previously chosen settings and thus those first two days were vital to having smooth sessions later on.

In post production we added nothing. There was very little editing needed. I will end this long saga by saying that this recording is not for every musical palate, that's certain. But speaking only for myself, I can now say because of the relatively recent resurrection of the 17th century tracker organ, we achieved true 21st century effects that are as engaging to the attentive listener as any other good music.