I have been critical of several issues in the Naxos American
Classics series. I have felt that, perhaps, a little more time
and care in choosing the repertoire for the disks might have
been taken. There have been so very many damp squibs. It’s that
age old problem of this is good because it is modern and the
new is to be revered without question (the Emperor’s New Clothes
syndrome). If the music has tunes it’s better that the composer
is long dead. Composers still with us of the older generation
who fit into this tuneful, communicative, category are to be
tolerated. But, let’s be honest, isn’t it exciting to find a
contemporary composer who can write tunes, orchestrate well,
communicate easily with his, or her, audience and doesn’t fill
their music with unnecessary angst? Please welcome Jack Gallagher,
a man who has been a name to me for some time, but whose music
I have never encountered – until now. And I am very pleased
to have met him for he is worthwhile in so very many ways.
Unlike so many contemporary composers Gallagher has something
to say and he knows how to entertain. He doesn’t waste a note
– marvellous – and when you see who his mentors are, you understand
how he came to this position. He studied with Elie Siegmeister,
Robert Palmer and Burrill Phillips, participated in seminars
with Karel Husa, Thea Musgrave and Ned Rorem, and undertook
master-classes with Aaron Copland, George Crumb and William
Bolcom. All this study has been put to very good use.
Diversions Overture starts in a serious way – very lovely
it is, in that well known, and typical, American outdoor style,
with a fair wind blowing in your hair and light sunshine pouring
down. You know that that’s not what’s going to be the main point
of the piece, and, sure enough, after a fine build–up, there’s
an outburst of real joyousness. Think of William Mathias’s Dance
Overture with an American brashness and you’ve got it. Marvellous
stuff.
The Berceuse is another piece of Americana, very beautiful
and simplicity itself. The Sinfonietta. for string orchestra,
never loses sight of easy communication and like the Diversions
Overture, it is full of entertaining music. The five movements
are inventive and make a very pleasing divertissement, nothing
serious here, just a delight in music-making.
Gallagher’s Symphony in One Movement: Threnody is made
of sterner stuff. As you’d expect from the sub–title, this is
a very serious affair, the first half slow and funereal, dark
and brooding, then the music explodes into a fast section of
power and tension. This is challenging stuff, and very impressive
indeed. The ending is a riot of colour and energy.
This is one of the most interesting issues in the American Classics
series. Powerful, well written music, which has a purpose and
isn’t afraid to say what it has to say. The orchestration is
of the most brilliant and, at times, extrovert, and it’s all
laid out clearly for its audience. The performances are very
good, although once or twice I sensed a slight discomfort in
the high string writing. JoAnn Faletta is a fine conductor -
why do we never see her on the concert platform in London, I
wonder? She gets strong and committed performances from the
London Symphony. The recorded sound is magnificent and the notes,
by the composer himself, are very helpful in introducing the
music. I am impressed, and so will you. At the modest price
this is a real find!
Bob Briggs
see also review by Nick
Barnard
London Symphony Orchestra/JoAnn Faletta 
