Composer: Leroy Anderson
Works: Serenata, The Syncopated Clock, The Penny Whistle Song, The Typewriter, Sarabande, Trumpeter’s Lullaby, Fiddle Faddle, Forgotten Dreams, Blue Tango, Jazz Legato, Jazz Pizzicato, The Phantom Regiment, Bugler’s Holiday, The Waltzing Cat, March of the Two Left Feet, Promenade, Plink, Plank, Plunk!, The Girl in Satin, Sandpaper Ballet, Belle of the Ball, Sleigh Ride
Performers: Richard Hayman and his Orchestra
Recording: February – June 1989
Label: Naxos American Classics 8.559125
Leroy Anderson, an emblematic figure in American light music, cultivated a unique sound that bridges the whimsical and the sophisticated. His early education at the New England Conservatory and Harvard, under the tutelage of esteemed composers like George Enescu and Walter Piston, laid a substantial groundwork for his prolific output. While often relegated to the realm of light music, Anderson’s works, as showcased in this delightful collection, reveal a composer capable of serious craft and ingenuity. This recording, featuring a selection of his most beloved orchestral pieces, invites listeners to revisit the charm and wit that define Anderson’s oeuvre.
The performance by Richard Hayman and his orchestra is characterized by precision and exuberance. Each piece, meticulously orchestrated, comes alive under Hayman’s deft baton. From the playful syncopations of “The Syncopated Clock” to the charming Latin lilt of “Serenata,” the interpretations revel in the light-hearted spirit inherent in Anderson’s music. Hayman’s choice to emphasize the rhythmic vitality in “Jazz Pizzicato” and “Jazz Legato” brings a vibrant immediacy to the recordings, allowing the listener to appreciate Anderson’s sophisticated manipulation of rhythm and melody. The subtle yet effective use of percussion throughout the program further enhances the buoyant textures, particularly in the lively “Fiddle Faddle,” where the percussive elements are central to the piece’s character.
Sound quality is uniformly excellent, a hallmark of Naxos’s engineering. The clarity of the orchestration allows for the intricate interplay of instruments to shine, particularly in “The Typewriter,” where the mechanical sounds are deftly imitated by the orchestra, creating a delightful auditory illusion. The recording captures the brilliance of the brass in “Sleigh Ride,” while the strings soar elegantly in “Trumpeter’s Lullaby,” evoking a nostalgic warmth. This attention to detail in the engineering is complemented by an overall balance that allows every instrument its moment, making the listening experience both enjoyable and immersive.
While many selections, such as “Blue Tango” and “The Waltzing Cat,” are well-known standards, the lesser-performed pieces like “Sandpaper Ballet” and “Plink, Plank, Plunk!” also warrant attention. The latter, with its playful nod to Tchaikovsky’s Fourth Symphony, showcases Anderson’s ability to draw from classical influences while maintaining a distinctly American vernacular. The cleverness in composition is evident; Anderson excels at crafting musical vignettes that are succinct yet full of character, managing to convey a wide range of emotions in under four minutes—a feat that speaks to his mastery of the musical form.
This collection serves as a compelling testament to Leroy Anderson’s enduring appeal. Hayman and his orchestra present these works with a freshness that invites both nostalgia and new appreciation, ensuring that the music remains engaging for audiences both familiar and new. The skillful arrangements, expert performances, and high-quality recording come together to create a disc that will undoubtedly appeal to aficionados of light music. Anderson’s work, often dismissed as mere entertainment, reveals itself here as a significant contribution to the American musical landscape, deserving of both scholarly attention and casual enjoyment.
