tic trademarks--striking arpeggios, repeated motifs, and the like--on any number of albums (for example, the Kronos/Glass soundtrack to Mishima or Uakti's 1999 release, Aguas de ia)? Unlike the epic three and a half hours of Music in Twelve Parts, this enjoyable disc takes just over an hour and it's well worth hearing. In the new video release of Dracula, accompanied by Glass's score, you'll never see Bela Lugosi's mug the same way again. --Jason Verlinde

36:T675, I've been a big fan of Philip Glass since I first saw Koyaanisqatsi, and when I got the chance to see him, along with the Kronos Quartet, perform this live at Wolf Trap about 10 years ago, I jumped at it. They performed behind a translucent screen, so you could watch the film and watch them, at the same time. Also, you could hear the music and the dialogue at the same time. It took a bit of getting used to, but it was a great performance. I also saw him, along with the Philip Glass ensemble, perform this during a "Philip on Film" festival. Good, but this score needs those string instruments to really shine.I bought the CD but never thought it would become the Philip Glass CD that I listen to most often (and I have quite a few...). I have the DVD also, but I seldom watch it. Why? Simply because I get frustrated at not being able to crank up the music louder, and quieten the film dialogue. I wish that control were available.While there are a few tracks that I can't stand to listen to (due to their frenetic quality, which happens with Glass compositions sometimes) there are so many that I listen to very often. I can sometimes see the film happening in my mind when I hear these tracks, but that's not the main attraction. That haunting music, those lovely string instruments stand alone as stunning pieces of music. Some of my favorites are: Renfield, Dracula Enters, Mina on the Terrace, and In the Theatre. Thank you Paramount for approaching Philip Gl