Over the past thirty years I’ve written and recorded a great deal of music. Like many composers who don’t focus on self-promotion, much of this work never reached the wide audience I had hoped for, despite praise from some well-known artists, critics, and producers, and I had more or less accepted that it might never find a broader public.
In the summer of 2024 I uploaded a large portion of my catalog (including my jingle reel!) to Spotify. Representatives from Parma Recordings noticed it and released three albums of this work in early 2026 under the title Many Streams, One River. I also enjoyed a long career as a music journalist. Selections from that writing, along with links to each volume of Many Streams, One River, are available on this site.
I’d love to hear from you. Please drop me a line and let me know what you’re up to.
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Gary Eskow (b1951) was a new name when I chanced upon this album released by Navona late last year. Eskow describes himself as 'a fan', and there is something of an engaging sense of discovery in all the works collected here. A fine example of that is the string quartet “Remo's Revenge.” The quartet, splendidly performed by the Beo Quartet, nods to the work of Fred Lerdahl but moves quickly, and compellingly, in its own direction. This is an entertaining portrait album of a little-known composer who knows what he is doing.
– Guy Rickards, Gramophone (re: Many Streams, One River, v. 1)
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I had the pleasure and privilege of interacting with composer Gary Eskow at the Manchester (Vermont) Chamber Music Festival a few weeks ago. Most notable was the premiere of Gary’s new suite for violin and piano entitled “Storms Will Come” performed by the estimable team of violinist Phillip Setzer and pianist Christopher Johnson. || “Storms Will Come” is an intimate dialogue between the two instruments, while spanning an epic range of emotions and sonic possibilities based on the musical experiences of Gary Eskow’s extensive and eclectic career. It is a wonderful musical journey and the audience was entranced. || I was very impressed with Gary’s depth of musical knowledge during our interaction at the festival during several conversations and seminar type presentations to audience members. I hope Gary’s music will continue to reach the widest possible audience.
– David Shifrin, Professor in the Practice of Clarinet and Chamber Music Yale School of Music
Clarinetist David Shifrin has long been considered one of the great musicians of his generation. He has been an artist member of the Chamber Music Society of Lincoln Center since 1989 and served as its Artistic Director from 1992 to 2004. Shifrin has performed with major string quartets including the Guarneri, Tokyo, Emerson, Orion, Dover, and Miró Quartets, as well as musicians such as Wynton Marsalis, Emanuel Ax, André Watts, and André Previn. His recording of the Mozart Clarinet Concerto was named Record of the Year by Stereo Review. -
“Gary Eskow's string quartet, "Remo's Revenge" is an exciting and always fascinating piece, full of color and expressive storytelling. It is masterfully written for the quartet, both for the individual instruments and in terms of combining sounds among the group and throughout the work as a whole.”
– Philip Setzer, Emerson String Quartet
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"Storms Will Come" was composed for two leading instrumentalists, Philip Setzer (violinist with the Emerson String Quartet) and pianist Christopher Johnson. It is a tribute to the music that was most meaningful and deeply felt by Eskow in his youth: blues, soul, popular, and classical music, along with the later influences of hip-hop and disco. || Eskow permits himself great breadth of compositional means, including simple chordal accompaniments, straightforward melodies, familiar harmonies (though often with surprising Eskowian twists), and the lively rhythms of jazz and popular music. || "Storms Will Come" is music of emotional substance that reaches into the deep roots of youthful experience. All of the composer’s compositional technique and critical acumen are brought to bear in this eight-movement piece, but its principal characteristic is its freedom from pretension and “high-art” aspirations.
Perry Goldstein , Professor of Music Department of Music Stony Brook University
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Just got back from Troy, where we ( Yo Yo Ma, Leonidas Kavakos, Emanuel Ax) recorded arrangements of Beethoven’s Symphony # 4 and the Archduke Trio, and had the opportunity to listen to “Undertow.” My opinion: The work is brilliant. (Why do I never have anything negative to say about your music? Because it’s always interesting, substantial, and appealing!). || This piece can easily stand repeated hearings without becoming tired. Each mov’t has its own attraction. || The asymmetric meter of the last mov’t coupled with some jazz elements keeps you on your toes! This recording is excellent with respect to sound, balance AND performance from both instruments. This should definitely see a commercial release.
– Steve
Steven Epstein is an American record producer. He has won 16 Grammy Awards, two Latin Grammys, and has been nominated 35 times. He has won Grammy Awards for Classical Producer of the Year seven times. While he is primarily known for his work in classical music, Epstein has Grammy nominations and wins for albums in musical theater, musical show, crossover, soundtrack, and spoken word for children.
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I listened to your recording and was deeply moved by it. The title “Undertow” captures what I was feeling when listening. On the surface there are beautiful harmonies and textures. Beneath the surface there’s a swirling of emotions and turbulence. || I love your musical language, a wonderful combination of seeming disparate qualities that you blend together so effectively. In the first movement I hear Brahms, Gabriel Faure, Ravel with modern harmonies and tensions added. The sonorities between the piano and cello are delicious. || The recorded quality is gorgeous and the performances, superb. The piece as a whole is deeply expressive and emotional. Congratulations Gary, your writing is truly masterful!!! Wishing you good health and happiness,
– Fred
Fred Hand is the best “classical guitarist” of his generation (and my former teacher!). Fred achieved international acclaim when just out of his teens he was accepted as a pupil by Julian Bream and became the master’s heir apparent.
Over the last 40 years Fred has released a number of highly praised recordings of his own works.
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“A wonderful piece…” (The Woodstock Chronicles)
– Richard Danielpour, pre-eminent Grammy Award winning American composer, professor of composition, UCLA
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I gave a warm welcome to the predecessor volume in this series with its endearingly quirky inspirations of pieces, and this second album follows in a similar vein. Eskow’s engaging suite “Storms Will Come” was wrote at the request of Philip Setzer, founding violinist of the Emerson Quartet, but it is the subtitle, ‘as if an LP from 1969’, that gives the clue to the disposition of the high very varied miniatures into two groups, ‘Side A’ and ‘Side B’! Eskow’s eclecticism shines through…
– Guy Rickards, Gramophone (re: Many Streams, One River, v. 2)
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I’ve long been a fan of Gary Eskow’s compositions, so I was very excited when he invited me to record a new piece of his for violin and piano with the wonderful Christopher Johnson. The score to “Storms Will Come” appeared soon afterwards, and we began working on it.|| I’ve always had a special love for short pieces or works that comprise a series of short movements. Beethoven’s Bagatelles for solo piano, the works of Anton Webern for string quartet, and the many short pieces of the great Romantic composers Schumann, Chopin, Brahms, and Dvořák all come to mind. Gary’s piece can now be added to that list, and I love that he uses the subtitle “as if an LP from 1969.” || The “songs” on this album range from the seascapes of “Storms Will Come” and “Pacific Breeze” to the tragedy of “American Elegy” and the personal and touching “Letter to a Child.” We also make a quick and exuberant stop into “Soul Town” with some nasty rap rhythms. The piano has a short and quite abstract solo movement entitled “Another Sky,” and we end with “One Way Out,” a strong ending indeed, with a good bit of Gary’s wonderful sense of humor. || “Storms Will Come” is a journey for Christopher and me, as it was for Gary to write it. I sincerely hope you, the listener, will find it as fruitful, exciting, and touching as we did collaborating on bringing it to life for all of you.
– Philip Setzer
Philip Setzer is an American violinist and founding member of the Emerson String Quartet, one of the most influential American chamber ensembles of the late 20th and early 21st centuries. -
I had a chance to listen to “The Woodstock Chronicles” yesterday and really loved it. I like the material and energy, also the way you stop the motion rather suddenly (I always like longer fermati than anyone else in my group). Also admire the combination of jazz/swing feel and the chromaticism of the lines and harmony. And you don't shy away from dissonance, which I find strong and bold, especially these days when everyone seems to be writing in simpler and simpler harmonies and rhythms–a feeling of dumbing down, which may not be intentional, but irritates me nonetheless. || You are a very gifted composer, my friend!
– Phil Setzer, founding member of the Emerson String Quartet
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I just finished listening to Remo’s “Revenge.” I must say, Gary, this is a superb work. || Without going into too much detail since it would take quite a few listenings to write in analytic terms, I found the piece engrossing from beginning to end. You have an inspired imagination with respect to interesting (in many cases, episodic) structure and just the sheer pleasure of keeping the listener involved.” I hope you are planning on having the work published!"
–Steven Epstein
Steven Epstein is an American record producer. He has won 16 Grammy Awards, two Latin Grammys, and has been nominated 35 times. He has won Grammy Awards for Classical Producer of the Year seven times. While he is primarily known for his work in classical music, Epstein has Grammy nominations and wins for albums in musical theater, musical show, crossover, soundtrack, and spoken word for children.
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“Gary Eskow’s “The Woodstock Chronicles” is impressive, and fun to hear. It has a classical approach, but goes through multiple styles including jazz, soul, minimalism, multi-tonal, and makes reference to a number of classic masters. Check it out!”
– David Kahne, producer, Paul McCartney, The Bangles
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Dear Gary , I just had a chance to listen to “Remo’s Revenge.” Very strong, muscular and insistent music-bravo!! …really great work. Congratulations!
– Richard Danielpour
Pre-eminent Grammy Award winning American composer, professor of composition, UCLA -
Having collaborated with Gary Eskow on three albums for PARMA Recordings’ Navona label-as a cellist, recording engineer, and producer-I have experienced his music from the performer’s chair and from behind the glass. Gary is a composer of rare imagination and musical intelligence. His writing is meticulously crafted yet emotionally immediate-idiomatic, challenging, colorful, and deeply rewarding to perform. He moves naturally among classical, jazz, blues, and popular idioms, but every influence is transformed into a voice that is unmistakably his. Just as importantly, Gary is a generous, curious, and deeply committed collaborator. Working with him has been an artistic privilege and a true joy.
László Mező is an internationally acclaimed concert cellist, first-call Hollywood session musician, recording engineer, and producer. An Ima Hogg International Competition first-prize winner, and a member of Pacific Symphony. László has recorded for John Williams on four feature films and two album projects and has performed under Williams’s baton on multiple occasions. His broader credits include projects with Hans Zimmer, Danny Elfman, James Newton Howard, Brian Tyler, Barbra Streisand, Michael Bublé, and Neil Young. He is the founder of Mezo Records Studios in Irvine, California.
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“I very much enjoyed listening to “Remo’s Revenge.” The piece has lovely phrasing and is full of ideas. Congratulations on this fine achievement.”
– Fred
Alfred Whitford (Fred) Lerdahl is the Fritz Reiner Professor Emeritus of Musical Composition at Columbia University, and a composer and music theorist. He has written many orchestral and chamber works, three of which were finalists for the Pulitzer Prize for Music: Time after Time in 2001, String Quartet No. 3 in 2010, and Arches in 2011.
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“I was hugely impressed by Gary Eskow’s string quartet, “Remo’s Revenge.” The music is engrossing and completely original.”
– John Lunn, Emmy Award winning composer (“Downton Abbey”)
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The “Woodstock Chronicles” is an accomplished work. The somewhat different styles of each movement are seamlessly integrated into a whole. The second movement ends with a mini coda that propels the listener into the third movement, which has a solemnity that is compelling. An excellent piece.
– Steven Epstein
Steven Epstein is an American record producer. He has won 16 Grammy Awards, two Latin Grammys, and has been nominated 35 times. He has won Grammy Awards for Classical Producer of the Year seven times. While he is primarily known for his work in classical music, Epstein has Grammy nominations and wins for albums in musical theater, musical show, crossover, soundtrack, and spoken word for children.
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“I consider Gary Eskow to be the American Ravel. He has an ability to shift between melodic, harmonic and contrapuntal realms in a way that is unique. Although “The Woodstock Chronicles” has many atonal elements, Eskow’s love and understanding of popular music make it quite accessible to the ear. A masterpiece”
– Christopher Johnson, pianist
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“Tart, witty, and consistently interesting.”
– Michael Redmond, critic
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“Now this (“The Woodstock Chronicles”) I LOVE! Congrats!”
– Ron Levy, pianist
founding member, Palisades Virtuosi -
Having overcome my initial reticence, I’m now prepared to take self-promotion to the next level by creating rave reviews and falsely attributing them to famous musicians. Not sure if I can pull it off. Please weigh in on these three: || “Who is this composer? His harmonic language is far more inventive than my own-and frankly, even my pupil Wolfgang might need to take notes.” Franz Joseph Haydn || “Did I invent the string techniques now called ‘Bartók-ian,’ or did Maestro Eskow? He bends, plucks, and pizzicatos like no one else-astonishing.” Béla Bartók || “Mate, if we’d made you the sixth Beatle, we’d probably still be sitting at #1… and Ringo might have thrown a fit and quit.” Paul McCartney || Ok, the McCartney one may be over the top.
Gary Eskow has been considered a smart aleck since junior high school.