DAVID GOLIGHTLY: Symphony No. 1, Three Sea Scapes. Golightly''s symphony is a big, ostinato-driven, muscular piece, tonal and constructed out of the musical equivalent of big, solid blocks, or painted in broad brush-strokes of primary colors. It seems to be the proof in music of Grainger''s words to the effect that the English are ''passionless about everything except football'' - because it is dedicated to a football club (Middlesbrough) and its manager, and extrapolates from these men of sport and mud to hypothetical Promethean strivers, builders and visionaries everywhere. Whether or not you are as passionate as Mr. Golightly about soccer, the symphony is one of those big-boned, tonal, neo-romantic pieces which can be relied upon to get the blood pumping a little faster. The Seascapes are appealing orchestral fantasias in familiar style, also bold and colorful. City of Prague Philharmonic Orchestra; Gavin Sutherland. Reviewer Jeff Joneikis Records International
Review Piano Trio November 2002
Piano Trio Letters of Regret. (2001/2)
David Golightly''s piano trio Letters of Regret was commissioned by The Fenice Trio, composed during the summer of 2001 and completed in February 2002. The first performance took place at the Middlesbrough Theatre in June 2002.
The work is in three movements (Demon, Angel and Regrets). Demon, the shortest movement of the work, opens with a rhythmical gesture from the piano, soon joined by the strings. This moderately fast movement is actually some sort of whimsical Allegretto sometimes of Russian flavour. Reviewing David''s First Symphony, the composer Arthur Butterworth remarked ôthat Golightly might well be a British Shostakovichö. Indeed, the Piano Trio calls the Russian composer to mind, particularly so in this slightly ironic movement that rises up to a short-lived ghostly climax abruptly cut short.
Angel opens mysteriously with ethereal static string textures softly punctuated by the piano.Later, the string''s sustained notes are gently accompanied by piano arpeggios. Then the strings, and later the piano, make some unsuccessful attempts at a tune, hesitantly so and with some glissandi contradicting the attempted melody. Eventually, the cello, followed by the violin, launches a sorrowful lyrical song, still disrupted by nervous interjections eventually short-lived.The Angel movement, though remains emotionally and harmonically ambiguous throughout.It too ends unobtrusively.
The Demon and Angel movements actually act as a twofold introduction to the last movement Regrets that is some sort of theme and seven variations, "a series of letters, written but not sent"as the composer remarks. This predominantly lyrical, often nostalgic movement is the emotional heart of what is obviously a deeply personal statement on the composer's part.
Golightly's Piano Trio is a superbly crafted, beautifully moving work, not unworthy its models(Shostakovich or John Ireland), and a highly personal, quite accessible work of substance that deserves wider recognition and that should be eagerly picked-up by trios willing to add a new substantial work to their repertoire.
Three love songs for solo flute based on three Greek mythological figures. Amphitrite, Euphrosyne Maia Three Pan Love Songs was commissioned and recorded by Nina Assimakopoulos and released by Euterpe Recordings, CD no 202, in July 2003. The work uses several innovative 20th century flute techniques, including flutter tongue and multiphonics, as well as a newly developed effect “flute pizzicato”. This sound is produced when the notes are played by releasing the tongue percussively from between the lips, letting air through without sounding the note, and keeping the head joint tilted enough for the released air to pick up the pitch fingered. There are “Three Pan Love Songs” Amphitrite, Nymph of the Sea: Euphrosyne, Grace of Mirth: and Maia, Daughter of Atlas. “With all three pieces Pan uses the milieu of each nymph to try to hypnotise and woo her” The first love song uses the coaxing ebb and flow of the sea, combined with the sounds of its unique spacious timbre. The second love song imitates the quavering giggles of Euphrosyne, the Rubenesque mistress of humour. In places the flautist is required to hum while playing.(Multiphonics) The third song strives for a somewhat ethereal version of an equestrian rhythm, because Maia liked to hunt. “These scenarios tailored to the mannerisms of each nymph are quiet evocative, and a unique addition to the repertoire” Nina Assimakopoulos. Vision * Artistry * Resonance, Professor of Flute, College of Musical Arts, Bowling Green State University USA
"Three Love Songs of Pan" is an excellent and serious Art Work for the flute that is is extremely programmable and well composed. Those that are familiar with Debussy's solo work for flute, "Syrinx", will recognize this type of idiomatic writing, which allows for liquid color specialties unique to the flute. In addition, and although the work is specific in its writing, the rhythmic flow and punctuation of rests, it does lend itself to some rubato, as if improvised, again, not unlike "Syrinx".In this imaginative work, the descriptive writing, and the use of a recurring "Leit Motif" lend unity to the form and bring Pan's character to life. The use of flutter tongue brings a contemporary element to the work, yet the piece is tonal and more Neo Classical in nature. As a point of interest, notice the composers oft used unification technique of harmonic points DEF as a code, which occurs in several of his works. In conclusion, "The Three Love Songs of Pan" is indeed well written, capturing elements of what the flute does best, and therefore is a pleasure to play. It is a most welcomed addition to the flute literature and comes highly recommend, not only for student study but also to any serious performing artist.
Dr. September Payne, San Diego State University, Grossmont and Mesa Colleges, Professor of Flute, Emeritus San Diego Coastal Flutes, Co-Founder Music West Flute Studio