"Wer nur von Musik etwas versteht, versteht auch davon nichts" is how the original goes, at least in the form in which it's generally quoted, but I've never tracked down the context in which he said it.

I believe Reich has always been a convinced Zionist.

Actually, he mentioned in a lecture at this past June in Buffalo (which I've just transcribed, which is how I know) that he "rediscovered" his Judaism in 1984, although he started setting Hebrew in 1981 with Tehillim.  I can't guarantee, of course, that Judaism preceded (or was coincident with) Zionism--I know nothing about Reich's Zionism or lack thereof--but it's an idea.

Not so sure that Feldman was at all politically motivated (perhaps merely on a token basis), I think you'll find more with Stefan Wolpe's somewhat complicated relation to Zionism, since (to my understanding) he was a communist coming from Berlin stopping off at  Austria, Romania, and perhaps a few other places...
I've been trying to Google around for things relating to Music in the Jewish Community of Palestine 1880-1948, but the articles on offer are all under academic lock and key.
Wolpe of course went to a Kibbutz from around 1934-38 and wrote workers songs, ...-those that I've  heard haven''t really interested me.

oh, I do beg your pardon, I was merely responding to comrad Pace's relating Feldman with Zionism, and had plainly overlooked the actual topic in question, what was it again?

GOSH!

I can't believe no one had thought of that before.

Well, I think there's a lot to discuss in Glass; but inevitably the discussion tends to get bogged down by "he was so much better when..." (is there anyone who doesn't think that?  and is there another composer whose career trajectory is so universally lamented?)

But I'd certainly be up for a more in-depth discussion of early Glass.  Music in Fifths, anyone?

I'm aware that I haven't really offered an opinion on this thread, initially wanting only to help out IRF with a few suggestions and observations - and to welcome his enthusiasm.

But, since most of us seem to be running out of steam, I'll just say, in passing and in personal conclusion,

Glass pre-Einstein: moderately stimulating from an aesthetic point of view. No chops, no real substance, too much faux-looping without the intricate and clear-headed dynamism of Reich (or Riley).

koyaanisqatsi: a one-off wonder, fortunately aligned to a consummate piece of film-making by Reggio.

Everything else, with the possible exception of Akhnaten: dreary, self-indulgent, lazy and dishonest noodling.

All IMO, of course, but Reich, Adams, possibly even Nyman (!) seem to me so, so much more worth one's attention, and Riley and Young too.