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.