I've just finished listening for the third time to a very enjoyable disc of David Diamond's music that I grabbed out of the used CD bin earlier this week. It is the Schwartz/Seattle Symphony recordng of the Third Symphony, Kaddish for Cello and Orchestra, Psalm, and Music for "Romeo and Juliet." I grabbed it because I had a vague memory that the composer had been discussed as an important American composer here on the list, and I am trying to familiarize myself with twentieth century American composers beyond Copland, Bernstein and Gershwin. This has led me to seek out music of Roy Harris, Ernest Bloch and Walter Piston among others. I was unprepared for what Diamond might sound like. I feared it would be an ordeal to listen to, but one that would "improve" me as a consumer of modern music. Of course, there was nothing to fear: the music was tonal, rational and, in places, quite moving. I was impressed by its forward motion; whether agitated, or slow and reflective, I felt that there was a strong sense of what I would call "narrative momentum" at work. This seems particulary impressive for music with strong vertical, harmonic interest as well. Dashes of notable and memorable orchestral color stand out against the canvas and remind me of moments in Mahler symphonies. For example, I loved the use of piano in some of the works and of bells in others. A quick trip to the archives failed to turn up too much about Diamond. I learned that the moniker "neo Romantic" could be applied, which makes sense to me. And Steve Schwartz made a tantilizing speculation about possible mental illness manifesting itself in tirades about seemingly unimportant matters. (This seems at odds with the tenor of a composer interview in the disc's notes, where he comes across as a rather avuncular, elderly man.) The music itself strikes me as quite reflective. In particular of course the lovely, ruminative Kaddish but, also, elements of the other works. It does not strike me as particularly American however--whatever that means. I don't hear the openess of a Copland or Harris. Nor do I hear the hurly-burly, urbanized feel of Gershwin or Bernstein. (The scherzo of Symphony 3 being an exception to this comment.) If anything, I think he might belong more closely linked to Bloch: a European who moved to America if I'm not mistaken. So, I am left eager to explore more, and would love to know where to turn next. Also, I'm surprised I can't find anything about Diamond in the three or four standard music history books I consulted. Is he a "lesser" composer in the conventional wisdom? Can anyone tell me more about his biography? Lastly, I hope my reflections above are coherent: I'd be interested to know if others feel I am on the right track in my first impressions of this composer. Ed