itaipu- the first four tracks, are part of a piece commisioned in 1989 to the itaipu dam in brazil, exploring the monolith, terraforming, man's power against nature. think the dramatics koyaanisqatsi without the hyperfast patterns. the choral arrangements are truly outstanding, as well as the full low end sounds of the orchestra.
the final three tracks are all acapella tracks for choir, showcasing glass's songwriting for a chorus. tracks are radio friendly (lengthwise, and conceptuall7), and showcase the crescendoes, baritone, and gears within gears.

this is glass at showcasing his dramatic and emotive sides, with massive orchestral and choral works performed by instrumental virtuosos. a stark contrast to the conceptually challenging, psychedelic, and high speed sides of glass's earlier works, these are gorgeous works nonetheless.

three songs for a chorus a capella
1- mato grosso- 11:54- ominous string intro leads to a constant low brass plod, pacing a truly outstanding choral arrangement, sends shivers down my spine, rising and falling patterns of glass only evident in the flute, high tension strings, with the dramatics playing up with huge crescendoes. music for a monolith, major industrial influence. overbearing, and impressive work.

2- the lake- 8:24- heavenly female voice w/ rising and falling string lines, reminscent of clouds from koyaanisqatsi, gets great when the male choral parts are added, and the strings and majestic trumpets churn the piece into an urgent testament to the power of nature. wanes to the end, ends angelic and pulsing.

3- the dam- 11:17- towering call and response between low brass and the chorus, gives way to a somewhat plucky (for glass) interplay. the vocals are again the centerpeice in a locked crescendo grove of pure classical thunder. doesn't quite explode the way you think it would. ends on a flush of string patterns.

4- to the seas- 4:53 tense strings give way to a dark nasty plod and huuuuuuge operatic vocals. eases up towards the end, giving space as an outro, gorgeous work.
5- there are some men- 2:54 philip glass's stab at songwriting, gorgeous acapella song of rememberance, haunting vocal patterns, triumphant phrasing, heroic build

6- 3:00 triumphant francophone choral piece commissioned for a quebecois anniversary, the chirping women's vocies are particularly impressive, exactly the quality you'd expect from glass

7-4:02 pierre de doleil- the entrance of each part is an epiphany. buried ethereal female vocal patterns then back a deep, throaty male baritone voice, then soaring female vocals come in, and finally backgorund males are added, until all parts are swirling, gears within gears to a perfect crescendo of an ending