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GLASS, LOUIS Complete Symphonies Vol. 2. Marianna Shirinyan, Staatsorchester Rheinische Philharmonie / Daniel Raiskin. CPO

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Glass Louis Complete Symphonies Vol2 Rheinische Philharmonie Daniel Raiskin Cpo

LOUIS GLASS (1864-1936)
Complete Symphonies Vol. 2


Symphony No. 5 op. 57 in C major ‘Svastika’
Fantasy for Piano & Orchestra op. 47

Marianna Shirinyan, Piano
Staatsorchester Rheinische Philharmonie / Daniel Raiskin

Glass and Theosophy
The theosophical worldview, to which Louis Glass increasingly felt drawn, found expression in only a very few of his compositions. Of all the works influenced by theosophy, the fifth symphony – Sinfonia svastika – from 1919-20 is the one based on the most extensive overall idea. The symbol of the swastika had the significance of a lucky charm but also served as a symbol of the sun or the wheel of the universe. (Our current relation to the swastika is very decisively conditioned by the role that this symbol played as the hooked cross in the national flag of the German Third Reich hoisted in 1933 – while the original meaning was lost.) In a footnote on the first page of the printed score the composer described the swastika as ‘The Wheel of Life, a symbol of circulation’. The Sinfonia svastika became one of the composer’s most performed works and no doubt conveys a particularly accurate impression of him. His Fantasia for Piano and Orchestra above all adheres to the work’s introspective motto alluding to theosophy: ‘From the spirit’s eternal canopy, tones calling man sound down.

And man turns away from the world and remains alone in order to find peace.’

CPO 7774942

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