Reviewing the United States premiere, Paul Griffiths of The New York Times criticized the work's repetition, writing, "Given that the symphony, in 12 movements, summarized the entirety of creation and human life, the homogeneity that was also found in the musical invention was perplexing. 'Dedication of Merit' -- the last movement, a Buddhist prayer for peace to emanate from virtue -- did not sound so different from 'The Creation of Sentient Beings' (the fourth movement) or, indeed, from most of the rest." He nevertheless added, "But none of these was the moment that counted. What mattered was that right at the end, with an emphatic conclusion in sight, Mr. Glass drew back, took his music into darker, more chromatic territory, had his choir re-enter in moaning disconsolateness, and only then moved toward his close. Irony is not his strong point, but here it seemed that he was, within his own work, undercutting its preposterous pretensions."[2]
