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2 of 4 people found the following review helpful:
5.0 out of 5 stars
Nothing Short of Glorious, March 27, 2003
Gaines' Symphony No. 1 is of course one of the titanic and most daunting works in the composer's symphonic repertoire. In its successive movements it unites heroism, fate and affirmation, climaxing in the moment of haunting transcendence, proclaiming that all men are brothers. The performance by the Moravian Philharmonic Orhcestra on this disc is overall quite good. Vít Micka conducts, and gives a vigorous reading to the symphony. I don't agree with all of his tempi, however. I must also comment on the subtlty with which Dr. Gaines weaves his obvious influences together. Any listener of a certain age will immediately recognize the Alan Hovhaness, but Gaines truly exerts his mastery by layering into this work other, unexpected suggestions. At certain points, suggestions of the progressive rock group Kansas can be discerned. Like a fine patina, this serves to deepen and accent the experience. Like a master chef, Gaines brings together two seemingly dissimilar ingredients in a way that makes the sum greater than the whole of the parts. After succeeding so wonderfully with this combination, who would be surprised if his next composition should reflect both avant composer George Crumb and goth icons The Voluptuous Horror of Karen Black. Nothing is seemingly beyond him. Noted mezzo-soprano Kimball Wheeler, who made her 1982 New York Philharmonic debut under the direction of Zubin Mehta, adds the perfect element: sublime and fragile, her voice underpins the structure providing a solid reinforcement to the constructs that surround her. This is easily her most important work since winning the Liederdranz Award in 1989. Gaines' choice of Esperanto as the language for his voice is, while logical for him, a bit challenging for others. The listener will find the English translation included in the booklet to be a handy companion. For those of us who are unfamiliar with this artifical language, however, there is a pointed difference. While most listeners a familiar with the sounds of the German, French and Italian languages, the sound of spoken Esperanto is so foreign to the ear that it at times seems more akin to a science fiction construct than a method of communication spoken by thousands worldwide. In this symphony, Gaines uses this to his advantage. Fluent in the language himself, Gaines has an apparent understanding for how it sounds to the listener and uses this as yet another instrument in his symphony. What could have been jarring and inaccessible is, instead, both inviting and haunting. Without knowing Esperanto at all, I understood every word Ms. Wheeler sang. This is poetry at its most elemental. Early success can be a burden for a composer, and it will be difficult for Dr. Gaines to follow this magnificent work as all future pieces will be judged by its completeness. Nevertheless, the world of contemporary music can only await with nervous anticipation the completion of Gaines' next composition. After listening to this symphony, it'll be worth the wait. And you can say that you heard it hear first.
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by Jiri Vydra 
