Gillis: Symphony 3

 

I had high hopes for Symphony no. 3 from U.S. composer Don Gillis, the third in a series of patriotic-themed symphonies. This last one in the series is subtitled 'A Symphony for Free Men'. 

The first movement is exquisitely thought out, with a dreamy horn theme which pops up in later movements, ominous brass chorales and long, sinuous string lines, no lack of mid-Century Americana optimism, and plenty of heroic fanfares and flourishes. The music plays out exactly as it should.

Unfortunately, the following two movements merely tread water, content to intimately reflect musically, with reminders of first-movement ideas amongst endlessly gentle evocations. Like the first two symphonies from Gillis, thematic development is waylaid for mere repetition and sequencing, although if you like the musical material, such things shouldn't bother too much.

Even the third movement, which promises something much more sprightly in contrast to the serious second movement, meanders into thoughtful gentleness, not to return to its opening ideas except for a final button on the work.

Since all three of Gillis' early symphony were written within a year or two of each other, I suppose listeners should expect much of the same. Certainly, the composer composes easy music to listen to, with a certain evoking of the wide-open Great Plains aside an earnestness which is endearing to hear in the 21st Century. These would be great material to hear at an open-air summer concert from a local pops orchestra around Independence Day.

Luckily, the composer's experimentation in his early symphonies, even if they aren't completely effective as symphonies, pave the way for more secure music making afterwards. Tulsa, subtitled A Symphonic Portrait in Oil, is a marvelous orchestral tone poem in the spirit of Honegger.

Essentially, Gillis portrays tapping for oil with mechanistic sounds coming from the orchestra, mainly through an enlarged percussion section. When the gusher erupts, so do the celebrations, ending with high-spirited marches and dances. I love that Gillis can create a vivid picture musically without reliance on melody, one of the composers great gifts, instead utilizing the timbres of the instruments and rhythmic patterns to describe the program.

Symphony X, as was his previous Symphony 5 1/2, is a known quantity to me from an earlier recording issued from this very same Classical Music record label. Both symphonies employ jazzy riffs, off-kilter rhythms, humorous twinges, and a generally jolly spirit to their respective works. So too, they are both much more compact, which suits Gillis' talents more effectively, I think.

This Tenth Symphony from Gillis uses Dallas Texas, 'Big D', as its musical focus. If Gillis is less effective in his elegy to the assassination of President Kennedy in the second movement, the more energetic outer movements and third-movement Scherzo, one might say frenetic, are excellent.

As the sound can be a little tubby in their Polish recording hall, I think I still prefer the earlier Albany Symphony Orchestra from the late 90s to Sinfonia Varsovia here. However, the main attractions are the early Tulsa and Symphony no. 3, both of which have little to no competition on record. Ian Hobson elicits a wonderful sound from the orchestral ensemble, with plenty of life and musical atmosphere.

 

 

Works
Symphony 3 'Free Men' (37.44)
Tulsa: Symphonic Portrait (10.06)
Symphony X 'Big D' (13.18)

Performers
Sinfonia Varsovia
Ian Hobson, conductor

Label: Albany
Year: 2006
Total Timing: 61.12

 

As was the case with Symphony 1 & 2 from Don Gillis, Symphony 3 is pleasant listening if not completely satisfying and overlong.

The later Tulsa and Symphony X are much more confident works, showing a composer who has found his voice.

Find more Gillis recordings HERE!