Symphony No. 3: Music From: The Voyage/The Civil Wars/The Light

Editorial Reviews
Amazon.com
Philip Glass has already written more operas than Wagner and more symphonies than many composers. With his astonishing output and his professed joy in writing, he shows no hesitation as he approaches the supposedly jinxed No. 9 (he has premiered five so far). The Symphony No. 3, for 19 strings, dates from 1995. Longtime champion Dennis Russell Davies and the Stuttgart Chamber Orchestra give a snappy, atmospheric reading of this enigmatic work, whose emotional core is the third movement's ruminative chaconne, flanked by shorter, faster movements that toss off grace notes recalling the gestures of Middle Eastern dancers.

Next, two scene-change interludes from the CIVIL warS, omitted from the 1999 recording of Glass and Wilson's aborted Olympics spectacle, surround the "Mechanical Ballet" from the Columbus opera The Voyage. As excerpts, these pieces cannot significantly influence our interpretation of Glass's evolving aesthetic, but they offer revealing snapshots of works that have never been completely represented on disc. The last track, The Light, part of his Portraits of Nature trilogy (along with Itaipu and The Canyon), was booed on its Cleveland premiere. However, there's no good reason for such a response. By his own admission, Glass remains primarily a collaborative composer. It's easy enough to imagine this piece accompanying a retro silent film about Michelson and Morley, the two light-obsessed scientists Glass commemorates. Like The Canyon, this one-movement work demonstrates his good humor, fertile imagination, and skillful orchestration. His critics always claim that he lacks these gifts, that his music is nothing but the same thing over and over again. On the contrary, this marvelous disc shows how Glass's music is never the same thing, over and over again. --Robert Burns Neveldine

Tracks:

Symphony No. 3, Movement I
Symphony No. 3, Movement II
Symphony No. 3, Movement III
Symphony No. 3, Movement IV
Iterlude No.1 from The CIVIL warS
Mechanical Ballet from The Voyage
Iterlude No.2 from The Civil Wars
The Light

Amazon.com

Philip Glass has already written more operas than Wagner and more symphonies than many composers. With his astonishing output and his professed joy in writing, he shows no hesitation as he approaches the supposedly jinxed No. 9 (he has premiered five so far). The Symphony No. 3, for 19 strings, dates from 1995. Longtime champion Dennis Russell Davies and the Stuttgart Chamber Orchestra give a snappy, atmospheric reading of this enigmatic work, whose emotional core is the third movement's ruminative chaconne, flanked by shorter, faster movements that toss off grace notes recalling the gestures of Middle Eastern dancers.

Next, two scene-change interludes from the CIVIL warS, omitted from the 1999 recording of Glass and Wilson's aborted Olympics spectacle, surround the "Mechanical Ballet" from the Columbus opera The Voyage. As excerpts, these pieces cannot significantly influence our interpretation of Glass's evolving aesthetic, but they offer revealing snapshots of works that have never been completely represented on disc. The last track, The Light, part of his Portraits of Nature trilogy (along with Itaipu and The Canyon), was booed on its Cleveland premiere. However, there's no good reason for such a response. By his own admission, Glass remains primarily a collaborative composer. It's easy enough to imagine this piece accompanying a retro silent film about Michelson and Morley, the two light-obsessed scientists Glass commemorates. Like The Canyon, this one-movement work demonstrates his good humor, fertile imagination, and skillful orchestration. His critics always claim that he lacks these gifts, that his music is nothing but the same thing over and over again. On the contrary, this marvelous disc shows how Glass's music is never the same thing, over and over again. --Robert Burns Neveldine

Customer Reviews:

I welcome death after listening to this.......2004-09-16

I remember the first time I heard "Le Sacre du Printemps." I absolutely hated it, but what did I know? I was a mere 13-year-old and I thought Tchaikowski was the last word in classical music. A few years later I realized the error of my ways and was able to appreciate "Le Sacre" from a more mature musical perspective.

A few years ago I was unfortunate enough to hear "The Light" in concert. I had some exposure to Glass at that time and had not been overly impressed, but I decided to approach "The Light" with an open mind and give Glass the benefit of the doubt. By the time the ordeal had concluded, I was surprised that there were any synapses still firing in that open mind of mind. I was left convinced that Philip Glass is one of the great musical con artists ever.

So what possessed me, all these years later, to give Glass another chance and listen to this CD? God only knows. I wish I hadn't. Damned open mind --- I guess I just can't trust its good judgement, because his music still strikes me as arpeggio-infested drivel. Did this man ever meet a triad that he didn't like? Most of this tripe could have been composed by 1st-year theory students except that none of them would have the balls to try & pass this off as a real musical effort. One has to give Glass credit where credit is due --- he does have the balls. He has brazenly fashioned a career out of composing the musical equivalent of finger painting. Begrudgingly, I must admit that I am in awe of someone who can pull off a magnificent snow-job such as that.

Subtle and elegant, Philip Glass continues to inspire.......2003-04-11

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.

The Light!.......2003-03-21

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.

Need a sedative?Look no further........2002-09-10

In the large discography of Glass' works only Glassworks rises above the dreary vacuousness of this,and most, of glass' cds.It is not that Glass doesn't occasionally come up with an interesting theme but that he runs the theme into the ground.Along with Reich,Part,Adams and the other minimalists,it has dawned on me that minimalism is an apt word for the music and its composers:minimally interesting music churned out by minimally talented composers;impoverishment of inspiration dressed up as high art.Quite a concept!

The picture looks like the music sounds - or vice-versa........2000-12-05

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.

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