From the Jewish library: ‘Words Without Music’

Words Without Music by Philip Glass,  Liveright Publishing Company, 2015
By Sheila Orysiek

Sheila Orysiek
Sheila Orysiek

SAN DIEGO — Philip Glass is a composer of “new” music and his book becomes a paean on his lifelong search to “hear” music in all things.  Thus, it is perplexing, as indicated by the title to his autobiography, that he doesn’t hear music in his words.  If his life is filled with music – how can his memoir not be?

Born in Baltimore in 1937, to a Jewish family originally from Lithuania, Glass recounts his memories of life at that time with his parents, two brothers and a sister.  Though his family was non-observant he did complete his Bar Mitzvah.  His father owned a record store and assumed that Philip would eventually join the family business.  Glass was thus exposed to music from an early age, his record collection consisting of those records his father could not sell.   This included many of the classics as well as “new” music which was often rejected by the general public.

His declaration to his parents that he wanted to study music was not eagerly embraced.  An uncle in the family spent his life on the road as an entertainer and Glass’s mother did not want this for her son.  Nevertheless, she did support, however reluctantly, his desire to study for a career as a composer.  A bright precocious student, winning scholarships as well as financial help from other members of the family, Glass finds himself at the University of Chicago at an early age.   Eventually he ends up at Julliard and then travels to Europe still seeking more study.

Glass extends his travels to many other countries including a mostly overland trip to India which he visited several times throughout his life.  He is always searching, not only trying to “hear” and understand the music of India, but just as important the many layered culture and philosophy of the country.  The reader gets the impression he is searching for answers to questions he has not fully formulated.   He describes his travels through the country by train, or dealing with less than ideal accommodations, and the many people he meets.  However, I don’t recall that he ever mentions the poverty and strife that the people endure.

Glass eventually takes up residence in New York City, marries and has two children.  It is not until his early 40’s that his musical compositions are able to financially sustain him.  Until then he takes (and to an extent enjoys) employment as a plumber (untrained and unlicensed), in construction work, furniture mover, cab driver, etc.  He separates from his wife, lives in a room in a dangerous neighborhood, sleeps on several moving furniture mats, with his belongings in wooden crates.  Another woman enters his life and he is happy until her early death from cancer.

Glass describes the artistic ferment of New York City of the 1960’s and 1970’s and his place on the edge of it.  Suddenly this changes and he finds that within a couple of years he has moved from presenting his music to an audience of six in a loft to his opera Einstein at the Beach being sold out for several performances at the New York City Metropolitan Opera House.  Unfortunately, without financial backers, ticket sales do not cover expenses and he is left heavily in debt. His music, often described as “new,” or “minimalist,” or “repetitive structures,” is either loved or hated – there seems to be few opinions in the center.

For those heavily into musical theory and analysis, Glass offers much discussion.  However, for those who are not so inclined there is also a great deal to enjoy because there is music in his words.

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Orysiek is a freelance writer who specializes in arts and literature.  Comments may be sent to her at sheila.orysiek@sdjewishworld.com