Tommasini's recent biography almost, but not quite, pegs Thomson as a gay composer. Thomson, being both elusive and diverse, resists even that. His symphonic outings are quirky and thoroughly imaginative. Fractured in continuity, it also refuses to be linear-rational. And, despite a four movement layout, it never develops in ways you think it should.
Unrelated things happen, as in a collage.
His score for John Houseman's one-reel documentary, Journey to America , draws on a variety of musical memories. This is the first recording of the film suite, and James Sedares and his orchestra give a very persuasive performance. He also leads compelling accounts of Thomson's two other symphonies, which are superficially more conventional works. It's also joyful, fresh and spontaneous. And it's neo-romantic because it uses personal feelings as subject matter.