It's interesting to think of a composer choosing to work within the structure and tools of disco. Broadly speaking, disco allows for a more variated palette than other popular modals of creation at the time (which is a high-falutin' way to say "disco songs got strings and horns and shit, and so too do symphonies, which is where you usually find composers"), and it would give someone with an ear for "classical" construction the chance to work within the mainstream, maybe even push the mainstream forward. Maybe the composer in question just likes Donna Summer. Who can say what happens behind Stalin's Moustache?
It's also interesting to think of "composed disco songs." Disco has no shortage of long and meandering songs, but those songs were in service of maintaining a well-oiled and populated dance floor. They were long because people on the uppers have a lot of energy to burn, basically. That gives someone the chance to, ostensibly, create a beautiful work of art and install it inside the men's room of a highway rest stop. Then again, Mark Rothko did shit like that all the time.
This is a roundabout way to say that Make The Feeling Come Again! doesn't really succeed as dance music or as classical music. Even in a genre known to wander, its longer songs felt like art-pieces, or maybe soundtracks for brief short films never actually released, than they did vehicles for the shaking of one's ass. The record's title track is probably the one that gets the closest to what the idea might have looked like, and even it sounds more like an intermission track for Jesus Christ Superstar. It isn't a failure, but it also isn't something worth revisiting or reclaiming.
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