Search - Don Gillis, Ian Hobson, Sinfonia Varsovia :: Don Gillis: Star-Spangled Symphony; Amarillo; Dance Symphony

Absolutely Top-Drawer Light American Symphonic Music

J Scott Morrison | Middlebury VT, USA | 12/15/2003

(5 out of 5 stars)

"Ah, the name Don Gillis conjures up such pleasant memories for me! I distinctly remember hearing his 'Symphony for Fun,' the so-called 'Symphony No. 5 1/2' in a concert by the Oklahoma City Symphony, conducted by Guy Fraser Harrison, when I was about ten or eleven. I thought it was the most amazing thing I'd ever heard. I mean, whoever heard of music that made you laugh out loud? I begged my aunt to take me back for the next afternoon's concert. (She demurred.) Later, there was a recording, long since lost, although I can't remember who the performers were. Could it have been Toscanini and the NBC Symphony? Don't laugh--Gillis was the producer of the NBC's concerts in the 40s and 50s and, if I'm not mistaken, wrote program notes and musical arrangements for their broadcasts. At any rate, I continued to love the piece. That symphony has been recorded by the Albany Symphony on Albany Records; unfortunately, I haven't gotten it--something I intend to remedy. This release does NOT contain that wonderful comic symphony. But it does contain some of Gillis's light, tuneful, expertly orchestrated music that is, much of it, in the same vein. No wonder, then, that Albany Records labels it 'American Light.' This is light music of the highest sort, certainly the equal of that of Morton Gould or Ferde Grofé. But he's funnier than they are. Indeed, he's funnier than Leroy Anderson. I can't tell you how many times I laughed out loud listening to this CD. Further, strange as it may seem, this performance by a Polish orchestra (Sinfonia Varsovia) led by a British conductor (Ian Hobson, a fine pianist/conductor long a professor at the University of Illinois), could not, I think, be bettered; it is simply superb.Gillis wrote at least ten symphonies, none of them (except for the 'No. 5 1/2') numbered. This CD contains two of them--the 'Star-Spangled Symphony,' and the 'Dance Symphony.' It also contains an 18-minute tribute to a Texas city, 'Amarillo--A Symphonic Celebration.' First is the 'Star-Spangled Symphony.' In spite of the name it contains only glancing references to the National Anthem. Rather, it is a war-time symphony celebrating (and these are the names of the four movements) 'Production Line,' 'Prayer and Hymn for a Solemn Occasion,' 'Bobby Socks,' and 'Celebration--the Fourth of July.' The first movement delineates that quintessentially American institution, the assembly-line factory and its workers, so essential to the war effort in WWII. The second movement is a solemn (and extraordinarily tuneful and moving) paean to those who sacrificed their lives in the War. The third celebrates that typical young lady of the time, the Bobby Soxer (and includes some wickedly syncopated dance rhythms). Finally, there is a whizbang Fourth of July Celebration complete with marches, fireworks, and various dances of the time. The whole is so American in feel that I even wonder if anyone other than an American could fully appreciate it. For those of us of a certain age it is a ramble down Memory Lane. It's all in straightforwardly, unabashedly tonal language, the sort that is, these days, nostalgic, even old-fashioned, but it is so expertly crafted and so infectious that it's hard to imagine anyone disliking it. Although Gillis was born and reared in my current neck of the woods (Cameron, in northwestern Missouri) he moved to Texas as a youth and spent much of the remainder of his life there. Much of his music is on Texas themes and 'Amarillo,' written for that panhandle city's 75th anniversary, is one of them. (I'm currently reading Annie Proulx's wonderful comic novel, 'That Old Ace in the Hole,' which is set in the Texas and Oklahoma panhandles and 'Amarillo' has made wonderful background music for that!) It celebrates the pioneers, the coming of the railroads, the wild and austerely beautiful landscape, and the modern age of Amarillo, the largest city in the Texas panhandle. The main theme intones the syllables 'Am-a-ril-lo, Tex-as.' Finally, there is the 'Dance Symphony' whose self-describing movement titles are 'Juke Box Jive,' 'Deep Blues,' 'Waltz (of sorts),' and 'Low Down Hoe-Down.' You can tell, can't you, that Gillis is a jokester? Indeed, I suppose one reason his music has fallen into neglect is that funny composers don't tend to get their due, and of course humor tends to date. Indeed, these pieces probably are dated, but still they are so meticulously crafted, so melodious, so open-faced and goodhearted that one reflexively starts smiling when they are playing. They may not be Beethoven but they are good for what ails us in these days of global conflict and economic woes. This music is good for the soul. No, it's not spiritually uplifting, in the general sense of that phrase, but they will quicken your step and lighten your burden. Strongly recommended.Scott Morrison"

Amarillo: Bullseye!

Neil Cotiaux | North Canton, Ohio United States | 08/19/2006

(4 out of 5 stars)

"First, the negatives: Those familiar with the wonderful works of Don Gillis may be a slight bit disappointed by several of the tracks on this CD, as they essentially represent snippets of various works found elsewhere. In fact, anyone who has listened closely to an array of this mid-century composer's output understands and most likely accepts that Gillis seems to have a love affair with certain musical motifs - always interesting, but they do tend to pop up in a variety of places.



Now the positive: Where has "Amarillo" been all these years? While the structure of this four-movement work parallels the concept behind another one of Gillis' city-centric symphonic portraits, "Tulsa", it is richer, more full-bodied, and - this is something to say when it comes to Gillis - even more inventive. The pastoral interlude has more heft than the more thinly-orchestrated opening to "Tulsa" and the celebratory segment is more finely crafted than "Tulsa's" finale - fewer high-octave notes, more sparing and appropriate use of percussion, and just a bit more rollicking. And he really gives the strings a western-style workout, bringing a smile to your face.



Most enjoyable within "Amarillo" is the hugely inventive section Gillis has scored evoking the era of the steam locomotive - replete with native Americans and cavalry to the rescue. Deftly colored and beautifully paced, it genuinely rivals Grofe's "On The Trail (Grand Canyon Suite)" and Honegger's "Pacific 231". Gillis is simply one clever fellow, and when he's at the top of his game, as he is here, he's marvelous.



4 Stars only because other tracks mirror elements of his work found elsewhere; buy this CD for "Amarillo" and enjoy."