This article was first published in the July 2012 issue of  Limelight


A couple of summers ago I was sitting in a hot Brooklyn backyard among musicians from MATA, a festival for young composers that Philip Glass helped set up in the ’90s. As cold drinks were gratefully drained I found myself chatting to a cheery man who introduced himself as Glass’s tour manager. At one point he drew from his back pocket a crumpled sheet of paper that on...

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