Customer Reviews

Symphony No. 6, Plutonian Ode

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4 star:		(1)
3 star:		(1)
2 star:		(1)
1 star:		(1)

 

 

I'm not surprised to see the love-it or hate-it polarity of these reviews. I come to Glass from opera and am thus not intimidated by the operatic quality of the work and the soprano voice. I also think it is important to compare the music with Ginsberg's text which is in itself fairly inaccessible without the footnotes Ginsberg provided in his publication. But the point is that Philip Glass has taken a kernel of meaning in the Ginsberg poem that has become more significant and compelling as time has passed, and then expanded it musically so that the meaning becomes infinitely more powerful, convincing, and moving. It is also unfair to insert the poem into western religious spheres as some reviewers (on Amazon and not) have done. Ginsberg was and Glass still is heavily involved in Tibetan Buddhism, the imagery of which becomes increasingly prominent as the poem develops. The soprano voice then makes particular sense as the vajra, translated as thunderbolt or diamond, that here cuts directly through to a certain truth.

I first heard Symphony No.6 'Plutonian Ode' at its world premiere at Carnegie Hall with the American Composers orchestra conducted by Dennis Russell Davies.
As with many premieres, works are often under-rehearsed and/or suffer from a lack of experience with the piece. This is a general indictment I have toward a lot of new music.
However, this may have been the case with the performance, which I, in tern, held against the piece. Last November, at the same time as Orange Mountain Music's release of this album, I had another chance to hear this symphony. I was less than excited, but I WAS excited about hearing the piece with which is was programmed: the world premiere of Glass' Symphony No.8 for orchestra-this time with the Bruckner Orchester Linz performing.
This time around, I recognized Symphony No.6 as nothing less than a masterpiece. Not only has the piece grown with the artists, Davies and Flanigan, but the orchestra (which had know the piece for years now), embraced the music with virtuosity and a european sophistication which lends itself very well to this most american of composers.
It was really like a new world. Flanigan's word's have meaning...the transformation of Ginsberg's character undergoes a very sincere voyage to personal transformation in the face of something ugly in the world.
There have been mixed reactions to the second disc featuring Ginsberg's narration of the original poem. At the very least it lends different perspectives to each recording.

A real masterpiece. A true example of how Glass continues to amaze!

In "Symphony No. 6, Plutonian Ode," Glass takes as his libretto the late Bohemian poem of that name by Allen Ginsberg. This is Ginsberg's outrageous "howl" against thermonuclear weapons, which he personifies as the specter of "plutonium" and forcefully confronts in the poem. Right from Glass's dissonant opening measures that roll toward us like black storm clouds, we feel the dark power of the specter. With level eye, this poem sees the horror of mankind's own creation of a powerful weapon against itself and addresses this specter eye-to-eye with a malediction, a curse, an incantation for its extinction. This poem is both pagan and prayerful, and the music fully engages its angry, impassioned, and even hopeful moods. With loud, staccato rhythms played against a powerful soprano voice--I hear an angry angel--the poet's visceral malediction is brought home on the evil specter:

"I call your name with hollow vowels, I psalm your Fate close by, my breath near deathless ever at your side

to spell your destiny. I set this verse prophetic on your mausoleum walls to seal you up Eternally with Diamond Truth! O doomed Plutonium."

Ginsberg paints the sweetness of life on earth, the "tranquil politic [populace]" under "blue sky transparent rising empty deep & spacious to a morning star" and juxtaposes this scene of innocence to the "Satanic [war] industries projected sudden with Five Hundred Billion Dollar Strength." Glass delivers these statements with characteristic luscious orchestral colors interspersed with jarring dissonance.

At the beginning of Movement III Glass gives the listener an instrumental reprieve that opens in the sweetest mood, using few instruments, simple repetitive melodies, and close harmonies in his signature minimalist style. But subtly tension grows in the music, and the listener feels the evil more strongly as the powerful specter roars back in the percussion with unexpected harshness. The text then invokes the blessings of all including "you Congress and American people,/ you present meditators, spiritual friends and teachers...."

"enrich this Plutonian Ode to explode its empty thunder through earthen thought-worlds

Magnetize this howl with heartless compassion, destroy this mountain of Plutonium with ordinary mind and body speech,

thus empower this mind-guard spirit..."

Glass delivers this spell with pounding chords and musical hammer blows. Then he gives the last word to the soprano, who softly closes the symphony for the shaken listener.

To me this is some of Glass's most exciting music. But I warn the faint-of-heart that "Plutonian Ode" will disturb his comfortable stasis and set his teeth on edge as it looks in the eye of this technological horror.

The works that Philip Glass has designated as his "symphonies" starting in 1992 are a real mixed bag: There are the quite effective "Glass meets Bowie and Eno" first (Low) and fourth (Heroes), the rather dull second, the fantastic third for strings only, and the sprawling pseudo-spiritual mess of the fifth (Choral.) [A seventh (Toltec) and eighth have also been composed but not yet recorded.]

Though it may sound like the name of a Star Trek episode, Plutonian Ode is actually the title of a 1978 poem by Allen Ginsberg and the inspiration for Philip Glass's sixth symphony. This isn't the first time Glass has worked with the late "poet laureate of the Beat generation" and his texts: there was also the disastrous Hydrogen Jukebox, and the rather nice (and short) Echorus.

It is a curious and undeniable phenomenon that the more "interesting" Glass's music gets, the less interesting it actually is. There is probably more harmonic and melodic content in the first ten minutes of his Symphony No. 6 than in the entire five hour duration of Einstein on the Beach, but it ends up sounding like second-rate Zemlinsky, third-rate Berg, or fourth-rate Philip Glass. Repetition, gradual process, static harmonies, churning rhythms -- these are the hallmark "minimalist" ingredients that make this music tick. The more Glass tinkers with this formula, the less effective the result. I suppose you could say the same thing about his fellow "former minimalists" Steve Reich and John Adams, but Glass's music seems to be most affected by the "more is less" paradox. (Actually, of the "big four" founding fathers of minimalism, only Terry Riley has really managed to develop an effective and compelling new compositional style, in my opinion... he desperately needs a new website, however...)

Symphony No. 6 is written for full orchestra and soprano (the Bruckner Orchester Linz and Lauren Flanigan in this recording), and that's the other problem -- the soprano is almost always present, warbling near the top of her range throughout most of Plutonian Ode's 50 minute duration. This kind of singing is frankly just not something anyone should have to listen to (or perform) for this long, and now I know why there aren't many other symphonies for soprano and orchestra out there.

Which brings us to the "bonus disc", which I thought was supposed to be the music accompanied by Allen Ginsberg reading the Plutonian Ode text instead of the soprano singing it. Nope... she's still there in the mix in addition to the overdubbed recorded voice of Ginsberg which is simply too much to absorb and nearly impossible to listen to (and let's face it: Ginsberg's poetry reading isn't exactly fun to hear for long stretches, either.) It might have seemed like a good idea on paper, but it sounds awful and it's ultimately a waste of time (and a waste of CDs -- which seems sort of opposed to Plutonian Ode's ecological themes... hmmm...)

Despite all of the sixth symphony's shortcomings, there is a wonderful chunk of pure Philip Glass to be found at the beginning of the third and final movement. Pulsing strings repeat ominous two-note patterns, additional instruments slowly join the texture, percussion accents kick in, and that old minimalist magic is in the air -- then the spell is abruptly broken by that damned soprano, and we're back to the overwrought operatic narrative again.

Yet somehow, that promising eight minutes embedded in this well-intentioned but otherwise unsuccessful piece confirms my hope that Glass still has some compelling music left in him... Let's hope he's saving it up and planning to blow all of our minds with his ninth symphony (but Phil -- please beware the curse of the ninth!)

Act III of this album is absolutely beautiful and insane! (However, I must admit that the first two acts - aside from the classic and glorious Glass pompous marching themes - are rather annoying due to the never-ending soprano voice: Our ears can only withstand so much! In fact, I've converted only Act III to my iPod.) Back to Movement III: Wow! This is both Classic & NEW Glass. I dare you to listen to the intro without weeping. And the climax...with the layering of Polyrhythms, the orchestra members seem to be momentarily fighting amongst one another for rhythmic domination, when they fold into a beautiful and NEW plateau of Glass madness! What an accomplishment Mr. Glass! I'm proud of you! I'm sure as you we're writing the climax of ACT III you were thinking: "There is no way they're gonna pull this one off."
If there is one fault with Act III it is the SKIP in the recording - where, no doubt - there was an edit: because, ultimately, the orchestra COULDN'T pull if off! I'm sure several takes were needed for the orchestra to pull off the beautiful and insane complexity of the climax, and was thus edited together. The SKIP is annoying however.
All in all...Movement III is a Philip Glass masterpiece! Wow Mr. Glass...They will remember you for this one!

I ended up talking mostly about the Ginsberg poem because I am of the opinion that Ginsberg's reading on Disc 2 is what has made the music powerful to me. I am saying this as a huge fan of Glass. I listen to Einstein on the Beach or other long works in one sitting, but I'd venture to say, if you're not keen on Ginsberg, this might not be at the top of your list for Glass music, though Ginsberg may convince, or Glass for that matter.

First let me say that some of the comments in the negative about the 'operatic' quality of the singer's voice are not unfounded. I think it is a bit odd that Glass chose such a singer to sing in such an 'old-fahioned' (for lack of a better term) style. I will say though that I have listened to the symphony so many times now that I cannot imagine it any other way, but I will also say that I would probably not listen to it if not for disc two with Ginsberg's inspired reading of the poem. I almost wish that Glass had counted on the voice of Ginsberg as a permanent feature, but hard to do when you want to get a symphony performed. Powerful stuff, but as for the singer, can't understand a word. Thank you Ginsberg.

To those who are trying to recruit dissatisfied readers and listeners, Of what are we supposed to be convinced? What saves a person in the Bardo is knowing that the visions and the very deities are only a product of the person's own thoughts. And should we ignore the influence of Gnosticism or Greek Mythology? I think it's yes and no and do admit that it's a Bhuddist poem. Having said that, the greatest spiritual teachers from any continuum overlap in my opinion.

Back to the Deities, given that they are manifested as words printed on a page, they may as well be from such sources. And a poem being formed of words, allusions, phrases, ink and paper (written of inky hands) would scarcely be more than material if not for the somewhat shared experience & ritual surrounding language. And the more figurative, the more ambiguous language becomes (Except when we get to that odd place of bizarre, yet undeniably mutual experience). And so, though it is so that in one way the poem seems inaccessible (having many allusions in addition to being very figurative), on the other, looking up the brief Mythology of the Ophitic Gnostics makes the poem readable, adding whatever one's missing of the Greek. (We do live in the age of Wikipedia, tho I got a book on Egyptian Gnosticism that served me better)

There are subtleties though, for example, Ginsberg names as archons both Ialdabaoth and Jehovah. Given that Ialdabaoth is the Demiurge, Ginsberg could have been more precise, and as for Jehovah, that is pretty subtle. Jehovah is a mispronunciation of Yahweh that has in relatively recent history been corrected and one that is peculiar to Christian churches (or others founded upon teachings of Jesus). And, of course, to the Ophitics, Ialdabaoth is what is referred to in the Trinity as the Father (Yahweh, Jehovah). Jesus is the Savior to them thru the imparting of knowledge, but Ialdabaoth (name etym.=son of chaos) was responsible for most of the old Testament, and all that came from Ialdobaoth, according the Ophitics, was lies. Anyway, the name Jehovah is only even remotely related to the archons through a peculiar set of lenses. Indeed, the name Jehovah is a peculiar choice given that is a historical mistake and one that was corrected by the writing of the poem. And so there are endless ways to engage the text.

Given that the Gnostics really haven't had any world presence for quite some time, yet can be readily understood by relation to heavily predominate religions today (Judaism and Christianity), Ginsberg made a nice choice. The idea of 'a' god or distinct spirits is, though talked about even in Tibetan Bhuddism (to convey concepts), understood by most of the adept to be illusiory. There is really one bigger reason that Ialdaboath, especially was a great choice: the myth goes that he is what was responsible for our creation, our imperfect embodiment in material form, and it is only through a redeeming light that we managed to gain from the fullness of the Bythos that our lives have any value at all.

The Gnostics believe that all creation resulted from the emanations originating from the Monad (or Bythos) which is one Entity, complete and whole. As the emanations progressed, there was an androgyne named Sophia that lost control tho she was good and this resulted in the archons and Ialdobaoth. Ialdabaoth's obsession with material substance led to our creation. And from this we must be redeemed--this redemption only possible through the gnosis.

Anyway, I once was puzzled by Ginsberg's use of Gnostic theories. As it turns out, they prove quite useful. "Father Whitman, I celebrate a matter that renders self oblivion." And so, I think it is that this heavy element will not beat Ginsberg, but that he will celebrate it.

Look, this is not an out cry of passion, I'll explain why in two words...Allen Ginsberg!Sure he writes wonderful but not really happy, look people, this Cd can really make you think, Plutonian Ode is a piece with the Poem of Allen Ginsberg, he tried to describe his current events...back in the days...but what did he trully do? He predicted the future, and no...he's no psychic or prophet or a Nostradamus...sry! The way he describes it all...it is as if he were seeing it right now. Now here comes the good part...The Music! Its...GOOD! It starts with a little protest song against plutonium(hence the tittle PLUTONIUM ODE!) and against polution, then the second movement...well thats just good. A bit more of...happyness not much, but more(excuse the spelling). Then you have the finnal movement. What can I say? It's woah...it's awesome.Look, If God was looking down on earth right now...this would be his background music. The singing is loud...and piercing, wonderful! So try listening to it in complete darkness, once you've memorized the lyrics, yes its a bit hard to understand, Philip Glass knows that, thats why he throws in the Poem in the little cd Booklet. Now...I have no comment about the Cover. But the music...wonderful. And for you people out there that keep on saying that The music of Philip Gass is all the same...you know what...SHUT UP! It's not. Each piece is unique in its own way. So stop reading this and start ordering the Cd, cuz trust me, you'll like it! Maybe not love it at the first few listenings, but by the 7th I promise you...You'll be killing to get more of it. By the way, the second cd is the same thing exept that Allen Ginsberg himself is put over the music and the soprano speaking out his poem. Now if you got this far i Congratulate you, now click buy! And buy it! Thank You Philip Glass!

I really enjoyed this symphony. I own all six of the symphonies currently available on CD and this has to be my favorite. There is a real dramatic pathos to this music. Though it is firmly in the style of Philip Glass, the score is dramatic and evolves in its drama as is appropriate to the poetry that serves as the inspiration.

The singing and performance is of demonstration class. I think Glass has a real sense for the placement of voice in the symphony and this work does earn the title of symphony. I would have loved to have seen this live.

Let me make this short and sweet (since other reviewers have already espoused the pros and mostly cons of this piece):

This definitely is not a work which Glass will not be remembered for 10, 20, even 100 years from now when conservatories look back on the accomplishments of Philip Glass. At best, this symphony will serve as a footnote to some literary critic's discussion of Ginsberg's poem, "Plutonian Ode." While it's not Glass's worst composition to date, it definitely isn't a masterpiece; however, while it isn't a masterpiece, it isn't unlistenable. In fact, it's quite listenable -- at least, more listenable than Glass's other Ginsberg project, "Hydrogen Jukebox" -- and it's quite "user friendly," but it fails as a symphony in almost every way. Each successive movement sounds so similar to the previous movements prior that any flourishes of originality which Glass tries to incorporate here and there are totally lost. I actually found myself nodding off to sleep the first time I heard it...which is sad considering I truly love alot (in fact, most) of Glass's output.

First of all let me say I'm not the world's greatest connesseur of modern music. I bought this after listening to the music samples. Good news: I was not dissapointed. Bad news: your neighbors will be if you're going to listen to it on a beautiful and calm sunday morning. It's loud! Sung and played vigourasly, very powerful, very good.