MSN_SG says: Hi everyone! Welcome to MSN's chat with Philip Glass! Let's get started shall we ... First question...

TylerD77 asks: How did you come about working with the Kronos Quartet?

Philip Glass says: I think my first project was in 1987. I was writing the music for the film Mishima     and I needed a string quartet to play some of the music. I was really familiar with the Kronos Quartet at the time though we hadn't met so I asked them if they would record the music for me. We spent some time recording the music and since then, I wrote String Quartet No. 4 and 5 for them. Also 3 years ago, I wrote an extended score for the film Dracula. Last year, we did a tour and performed in many cities, performing the Dracula score with the film. We have a project with the feature called Concerto for String Quartet and Orchestra which we would like to do in the next few years.

Guest_cando asks: I've read that you are a Buddhist. How does that influence your music, if at all?

Philip Glass says: Well, I think whether or not a person is Buddhist or Christian is not so important, but I've had a lot of association with the Buddhist community, mainly with the refugees in US, and some in North India. What has impressed about them is the teachings I've learned. The connection with the world they live in. The most important thing I've heard said by the Dalai Lama is the idea of the connection that people have with each other. For an artist, this is an important idea. This encourages us, and tells us that this belongs to the world, rather than for our own careers. So that when we see the work we do and how it functions in the world, this gives pleasure and enjoyment to people, and becomes a motivation which I think gives a sense of openness and freshness to our work which goes beyond personal ambition.

Guest_PeterMelbourne asks: At risk of being greedy (I am in Melbourne after all) is Einstein on the Beach ever likely to be staged again?

Philip Glass says: Oh yes... in fact, we're planning to make a new production of the work in 2003. We're discussing this with producers in Austin. I'm hoping to have an international tour in 2004. It might be far away, but we've begun planning for this event right now.

Guest_navla asks: Do you agree with the label that you're a minimalist composer?

Philip Glass says: I think first of all, this term was invented by music critics. This was not made up by composers. This is a label only. In the early 70s, it was a useful term. It helped distinguish the work of these composers - a kind of central European style of music that was categorized by a 12 tone system. To many, it might seem abstract, and might communicate well to the general public. From 1965-75, these are important years for developing the language. After Einstein on the Beach, I was involved in writing ballet and operas and film scores. In the early minimalist period, we talked about less being more. But when I worked in the theatre, that aesthetic began to change radically. By combining work by visual artists, dancers and writers into coherent musically theater works, we work today, going beyond that aesthetic. So the work we're doing in Singapore, it has roots in a reductive style of writing. But probably this word does not describe very well the type of work people will be seeing...

Guest_cando asks: America seems particularly captivated by the Orient now. You've been influenced by the East for many years? What are your thoughts on the current trend? Is it here to stay?

Philip Glass says: I think we should acknowledge that this goes both ways. There is lots of influence in Western music. We can say that this is a two-way street between Eastern and Western Arts. It's become an active   dialogue for musicians to work together. I was lucky to meet Ravi Shankar and he is a master in Indian classical music. Working with him helped me develop my own style of music. At that time, I believe that Asian music was not as well known as it is today. I think that the contemporary music scene is a very lively one. Music from Africa, South America, Australia and what we call the Far East... These different forms of music all encounter each other in a lively and productive way.

Guest_navla asks: Have you had any less than endearing experiences with other artists. Or have you walked away from a collaboration thinking: "Now, that's something I would never attempt again!"

Philip Glass says: That's a good question! I've had collaborations with writers, dancers and film makers and theater people. I have been very fortunate that the experiences have mostly been positive. There have been some difficult encounters, but yet artistically fruitful... There are people I don't want to work with again of course. But I've worked successfully with Allen Ginsberg, Doris Lessing, Robert Wilson, Jerry Robins, Martin Scorsese, Foday Suso, Mark Atkins... These are a few names that come to my mind...

Guest_cando asks: What do you think of classic-pop acts like Vanessa Mae and England's Bond girls?

Philip Glass says: Well, I don't actually know these particular ones so I can't really comment. I've heard lots of new music in New York. There will be some very talented people while others just repackage old ideas...This has been happening for quite some time. It's difficult... I can't mention names. We put up a benefit concert for a Tibet house in New York: Michael Stipe, Rufus Wainwright, Shawn Colvin, Patty Smith, David Bowie... Some of them are well-known performers. But Ben Harper is one of the young ones we worked with. I've worked with lots of people in the pop world and have enjoyed these meetings very much!

Guest_PeterMelbourne asks: To what do you attribute your interest (fascination almost) with arpeggios in your music? For most trained "musos" they would bring up memories of endless practice! Yet you successfully use them as an artform.

Philip Glass says: First of all, this technique is a useful one. It articulates a rhythmic structure and a harmonic one at the same time. It generates a harmonic sound and gives a rhythmic pulse at the same time so it makes it very handy... You find that in pieces like Koyaanisqatsi but not in works like Dracula. The reason it's not in Dracula is because Dracula is written in a string quartet and string instruments have more difficulty playing arpeggios than keyboard instruments.

Guest_cando asks: What do you think about Morton Feldman's music?

Philip Glass says: Well, he wrote extremely beautiful music. It's very different from my music but I've always loved his music. He lived in New York while I was there, and I got to know him. He's a really funny man to know. He has a great sense of humour with a sarcastic tone sometimes... But I found him to be a really warm person!

MSN_SG says: Thank you Mr. Glass for being here... that's all the time we have left... Thanks everyone for participating!