Piano Concerto No. 2 (Glass)

The movement builds in intensity with characteristic Glass octave leaps into a rhythmic and repetitive climax sponsoring a calling trumpet supported by rapidly shifting piano undertones.

Gradually the climax declines until the snare and piano share two major-key progressions, signalling a short but fluid exit of instruments.

Glass also wishes to convey a sense of structure and order, symbolizing the resolve of travelers; he does so by strictly controlling the energy expressed in the music, but allowing it to spark the thoughts of the listener beyond the confinement of rhythm.

[2] The second movement is characterized by a soft flute theme representing Sacagawea, the Native American girl who aided the travelers during the harsh winter during their trek through the United States midwest.

The second part concludes with the lonely flute performing long, simple notes, and the piano playing almost indiscernible C major chords.

The times of playfulness are distinct from those of sombre exchange; these are meant to symbolize the productivity of the relationship as well as potential disagreements (both logistical and cultural) that the party may have had, respectively.

After a series of sullen string lengths, as well as quick woodwind undertone, the piano enters the movement uncommonly late-more than two minutes into play.

For example, the abovementioned flute involvement in the second movement displays almost no pertinence to minimalism: the part is varied and unpredictable, a clear distinction between the assumed minimalist norm and the actual piece.

"[4] Glass wishes to describe the nation's nineteenth century stance of "manifest destiny", a policy largely initiated, if only indirectly, by the team's journey.

Glass achieves this goal by infusing into the third movement a fully energetic high-point, with possible variation on American folk songs, a tradition from which the composer sometimes takes influence.

The common use of long, sweeping major and minor chords can be interpreted as a tactic used to create the "distant" feel of the expedition, as well as the comparative strangeness of the world explored by the travelers.