Customer Reviews

Philip Glass: Symphony No.3

5 star:		(6)
4 star:		(8)
3 star:		(0)
2 star:		(0)
1 star:		(3)

 

 

I find it funny that "The Light" was so poorly received. It is the proper climax for this subtle and excellent release. I have been a long time Philip Glass fan and find nearly all of his releases to be unique masterful pieces of work. Those who complain it is all of the same, simply are not listening. Recently I let a friend borrow some of his cds and because I couldn't find one that was totally representative, I sent him home with four. Most artists could suffice with one, but I can't think of a single cd that gives a good overview of the supposedly "all of it is the same" Philip Glass. This release is no exception. Symphony 3 is one of Glass's more subtle works and requires a careful listen. I think it is probably best appreciated by long time fans, who realize the variance and subtlety of the piece. What follows are some excellent pieces by any other standard, but admittedly not total standouts for Glass. Nevertheless any listener will enjoy them fully as they are quite good, just not as good as what is to come, which is "The Light." "The Light" is full-on Glass that starts with whimsy and works its self up into the heights of heaven. An astonishing and inspiring work that stands as one of his best. This cd would be worth getting for this piece alone, luckily it is worth getting for the whole thing.

While many of Philip Glass's other CDs are presented as a single thematic package (even Glassworks has the same feel to much of the music), this release is a compilation of shorter works pressed together on one CD.

Symphony Number 3 is heavy on the strings with plenty of sliding and pizzicato; overall, the symphony isn't as dynamic and powerful as his Symphony Number 2. However, the tonal myriad of the various strings is a real treat. While the first and second movements are energetic, the real cornerstone of the symphony is the somber third movement. It is reminiscent of his operatic work as a sequence is repeated throughout the various instruments with various additions and subtractions made as the movement progresses. The short forth movement returns to the energetic feel of the second movement finishing the symphony with a flourish.

There are two interludes from the CIVIL warS included. As the name of an interlude would suggest, these pieces are bridge pieces with a softness and subtlety of play. While the CIVIL warS itself can be cacophonous at times, these interludes are calming and quite melodic. Between the two interludes, a piece from The Voyage is included. This short piece uses the full orchestra alternating between dramatic crescendos and softer solos. It definitely has my interest as to what the rest of The Voyage sounds like.

The real star of this CD, and my favorite, is The Light. I believe The Light is much like Itaipu in purpose and dimension: dedicated to an achievement of man. Thus, the music is inspiring and dramatic; the use of the brass section of the orchestra is exquisite. The liner notes report that "Mr. Glass depicts the light itself" which I did not hear; it sounds much more "romantic" than just light itself.

Philip Glass critics may say the music on this CD is the same recycled themes found in most of his work. To Philip Glass fans, this CD is a definite addition to their library. So if you're just a casual listener to Philip Glass, pass on this one; for the rest of us fanatics, he can't release this music fast enough. While I gave 5 stars (because whatever you say, it's still Philip Glass and worth 5 stars), when compared to his other discs I'd rate it at 4 stars.

The 3rd Symphony sounds like the usual Philip Glass orchestral works but has a stronger-than-usual theme. If not for the patented minor arpeggio/major arpeggio see-sawing I might describe the style as "Romantic classicism". Formidable without being angular - I don't know how to describe the CD except to say that the monocromatic photograph of an expansive landscape used for the CD cover illustrates the sound perfectly - broad and wide open. Excellent performances and recording quality througout.

It seems odd, even a bit contradictory, that Philip Glass has produced his Third Symphony (this one for string orchestra): Minimalism never seemed inclined to the large-scale integration of elements required by symphonic composition, and Glass was the most minimal of the minimalists... Think of the repetitions in the Liebestod or those in the build-up to the peroration in the Finale of the Fourth Symphony. So in addressing the symphonic concept, minimalism in its way "comes home" to its own origins. Glass' previous symphonies surprised one by the naturalness with which they took up the genre. That naturalness once again characterizes the Third Symphony, by no means small in scale although restricted to the monochrome medium of the string band. Movement I (of four) is the most reminiscent of the Glass of "Glassworks" and "Koyanisqaatsi." But a different principle, that of development, of traveling from A to B rather than trotting in place, is in play. There are moments, in the vigorous Movement II, that recall William Schuman's motoric Fifth, also for strings alone. One sometimes also thinks of Hovhaness, especially when the plucked strings play against each other in dancy counterpoint. Movement III forms the center-of-gravity of the composition: The mood becomes dark and troubled; Glass generates considerable tension. This is a real crisis, a point-of-crossing, as in one of the Major Odes of the romantic poets. Movement IV puts the crisis behind, although not quite decisively. This disc, with Dennis Russell Davies leading forces from Stuttgart and Vienna, includes another major work, "The Light," based, so we are told, on the Michaelson-Morley experiments that confirmed the speed of light a hundred years ago. This is more tone-poem than symphony and is quite romantic (I daresay, in its way, Lisztian!). Three shorter pieces round out the program. But this disc for the Symphony and for "The Light," two top-flight works by a composer whose development has taken an unexpected turn.

The recording industry is particularly kind to the works of Philip Glass and for that we should be thankful. Would that all contemporary composers were allotted the same amount of disc surface! This recording, technically excellent, is one of many riches. At last we have a chance to hear for ourselves THE LIGHT and not depend on the critical hubbub that accompanied its premiere. But by far the most satisfying work on this fine CD is the Symphony No. 3 for chamber orchestra (19 strings). It may require several listenings for those who have not heard it before, but with each new listening the subtleties of tone, harmony, and rhythms grow more apparent. Though some people scorn Glass' music as white sound background music, Glass is certain to maintain his secure place in musical history. And it is through recordings of the quality that Nonesuch lavished on the Stuttgart Chamber Orchestra and conductor (and long time collaborator) Dennis Russell Davies that guarantee that position. A fine recording.

This symphony was a step in the right direction for Glass, and so were the accompanying works. I find this album utterly blissful to listen to. Don't be so hard on The Light...not only is it the musical personification of minimalism as I understand it (moreso than the rest of the works on the album), but it also has a certain Glassy edge to it -- I become entangled in this increasingly intense web of flittering near-melodies, to the point where I cannot expel it from my mind, and soul.

I enjoy the music on this CD. I sense that Philip Glass is using the vocabulary he developed over the last four decades to express new ideas. The reception shown the piece IN THE LIGHT demonstrates Mr Glass is still controversial in his endeavours. I am interested in this piece for the story it tells. The notes are an interview of sorts by David Write. In these notes, Mr Glass writes, "The suggestion to write music to commemorate the anniversay of the Michelson-Morley experiment at Case Western Reserve University in 1887 was one to which I could respond immediately." At the anniversary of the birth of Michelson, Albert Einstein acknowledged the role these experiements played as he developed his theory of relativity. Mr Glass sees in these experiments a "before and after" sequence. 19th century physics giving way to 20th century physics. He describes this one-movement work as a portrait. I hear gestures familiar to the work of Mr Glass such as a prominent piccolo arpeggio. The light waves are characterised by a Foxtrot according to Write. The beginning is a rare piece of romanticism from Mr Glass. He uses it to represent the "before" world of Michelson and Morley. If you are interested in the work of one of the most reknowned composers of the late twentieth century, or if you are interested to learn how Philip Glass applies his musical vocabulary to interesting expression, this CD will interest you.

Symphony no. 3 was composed by Glass for the 19 string players of the Stuttgart Chamber Symphony. Listening to this you will hear syncopated rhythm, repeating chord progression, and deep string tone. Symphony no. 3 is the stongest part of this CD. Interludes from the Civil Wars was composed for a pause in the stage action in Robert Wilson's Civil Wars. This features a descending scale theme. In Mechanical Ballet we have shades of Glass's Einstein on the Beach. The Light is perhaps the weakest piece on this CD, it's a little too long. It begins with a slow romantic introduction and proceeds to a rapid pace and it goes on and on. With the Light being the one small caveat I have about this CD I still recommend this CD strongly if only for Symphony no. 3 which represents some of Glass's best work.

When considering Glass it is good to remember that initially Mozart was criticized for having too many notes in his music. The most often repeated complaint about Glass's music is its repetitiveness. While Glass leans closer to John Cage then Mozart he shouldn't be so easily dismissed as evidenced by this wonderful compilation.

His 3rd symphony is a delight and is executed with precision and heart by the Stuttgart Chamber Orchestra. But the real gem on this CD is the final piece called 'Light'. It is astonishing in its simplicity and hides the obvious mastery needed to execute it.

This disk is marvelously put together and should go a long way to quell the criticisms of this great composer.

(Please Note: As I, in principal, believe that the altruism of review system has been diminished by rating the reviewers, I ask that you DO NOT indicate whether this review has helped you or not.)

This music feels like hours of "The Hours" but I agree that for Glass fans there are bound to be nuances that make various parts of this collection more interesting than others. I am not sure I would compare it to a summer's day or the picture on the CD jacket. Is there a postmodern generator on line for this?