Philip Bobbitt The Prince

In honor of Philip Glass' 70th birthday, Sony has devoted two CDs to 18 short works and movements of larger works, from recordings in its archive. The set provides a useful introduction to the composer's work from a relatively brief span in his long career, from 1976 to 1988. It was an exceptionally productive period for Glass; works written during that period include his three large-scale portrait operas – Einstein on the Beach, Satyagraha, and Akhnaten – all represented here, as well as two very popular albums of short pieces: Glassworks and Songs From Liquid Days.

This album is particularly close to my heart because it contains music written especially for me; the composers have paid me the great compliment of writing with my playing in mind, in some cases collaborating closely with me, in others simply prese nting me with a finished work, and in all cases creating a distinctive, English piece which makes a worthwhile addition to the repertoire for solo clarinet with orchestra. These four composers have all also dared to write melodically whilst still managing to find new things to say. Does it take courage to write melodically? Well, yes, when you live in an age where art has to be forever stretching boundaries to be taken seriously. However English Fantasy contains music which I hope will entertain and move a contemporary audience whilst unapologetically rooting itself in the traditions of the past.

Going by this album, Phil Lynott would have had a lot in common with Bob Geldof, with both of them writing songs that strove for memorable hooks and related to growing up in the rough end of Ireland. The Philip Lynott Album has some surprisingly sweet moments, considering Lynott's hard-rocking past with Thin Lizzy. It generated a bona fide European pop hit in a remodeled version of "Yellow Pearl" (co-written by Midge Ure of Ultravox), a sarcastic attack on Asian marketing methods.

The soundtrack to Errol Morris' documentary The Thin Blue Line emphasizes story over music; the interviews which make up the majority of the film – a crusading effort which led to the the release of its subject, Randall Adams, from a Texas prison – are presented on record as they were on screen, with Glass' chamber orchestra music hovering in the background. The result is a soundtrack which comes remarkably close to capturing the power of its source film; even without the moving images, this is a chilling document.