Diversions Overture; Berceuse; Sinfonietta; Symphony in One Movement: Threnody. JoAnn Falletta, London Symphony Orchestra. Naxos 8.559652.
If you don't immediately recognize the name of American composer Jack Gallagher (b. 1947), you probably aren't alone. Professor Gallagher, who teaches music at the College of Wooster in Wooster, Ohio, cannot boast the world's biggest resumé of compositions nor the biggest discography of recorded performances. What he can be proud of is the variety and creativity of his music, which this current Naxos disc well represents.
I mean, when so distinguished a conductor as JoAnn Falletta, so celebrated an orchestra as the London Symphony, and so big a record company as Naxos feel confident in a composer's work, you know you've got to sit up and pay attention.
Without any previous experience with the composer or with performances of his work, it's hard to know how good this new Naxos disc is. However, Ms. Falletta seems to have taken a shine to the music, and the London Symphony play it with their customary attention and enthusiasm. I've read that the LSO are a quick study and have recorded more music than any other orchestra, so I can understand their handling the material as well as they do.
The program opens, appropriately, with an overture, a curtain-raiser, in this case the Diversions Overture (1986). Dr. Gallagher named it fittingly, as it expresses a wide range of diverse temperaments. It opens gently with a Copland-like sunrise that sets the mood. Then it gets progressively more energetic as it moves along, perhaps by high noon getting downright rambunctious. The percussion instruments, especially, make an exciting partner in the proceedings before everything settles back into a comfortable repose.
The next item is Berceuse (1977), by definition a composition having a soothing, reflective character. It's a short piece for small orchestra, a piece the composer describes as starting out as a lullaby for piano. Again, we hear Gallagher's penchant for sweet, lyrical tones, a really lovely work reminiscent to me of several early twentieth-century English pastoral composers--Arnold Bax or Frank Bridge, for instance.
The Sinfonietta (completed in 2008) is the longest and most-ambitious piece on the disc, written in five movements and scored for string orchestra. It's the middle sections I found most interesting: a hauntingly atmospheric Intermezzo; a spirited Malambo based on an Argentinean dance; followed by a calming, courtly Pavane. Then the music ends with a robustly melodic Rondo concertante.
The album concludes with Symphony in One Movement: Threnody (1991). A "threnody" is a song of grief, usually written for a funeral, so the music is both sorrowful and uplifting. Because the music is about twenty-one minutes long, Gallagher divides it into two segments, the first slow, yearning, and eerily melancholy; the second faster and more assertive, with percussive passages breaking out unexpectedly throughout both sections, though more flamboyantly in the closing moments. The forward thrust of the piece makes it quite enchanting and belies the mournful cast of its title.
These selections from Dr. Gallagher's body of work strike me as having great heart and emotional intensity, without resorting to gimmicky, abrasiveness, or sentimental condescension. They are at once modern yet old-fashioned in their harmonies, melodies, and rhythms. I have no doubt they would appeal to most listeners of almost any age, particularly when the conductor and orchestra play as ardently as they do here.
Naxos recorded the music at Abbey Road Studio One in 2009. As usual in this venue, we get recorded sound with a wide stereo spread, a modest but adequate sense of orchestral depth, and a more-than-ample dynamic range and impact. The audio engineers also handle frequency extremes well, with clear, extended highs and taut, solid bass. One forgoes ultimate midrange transparency for a pleasant ambient bloom, a fair compromise.
John J. Puccio, Editor, Publisher, Reviewer
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer
For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.
For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst
I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.
Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio
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