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 The Piano Concerto! Jan 11, 2009
There are several fine recordings available of Anderson's short light classical works, but don't miss this piano concerto! You could say it sounds like Gershwin, Bernstein, and Copland, but I would say it sounds American, and it sounds like Anderson.
Leroy Anderson Collection Worthwhile Oct 10, 2008
The American Classics series is a rare opportunity to hear virtually all of Leroy Anderson's classic and pop music, including some never before recorded items. The first and third volumes feature most of his well known arrangements for the Boston Pops plus a few surprises. The second volume contains much of his lesser known work. Except for some small quibbles about tempo, Leonard Slatkin and the BBC Concert Orchestra turn in a very creditable job. The announced fourth volume will have some of his longer classical works.
7 of 10 found the following review helpful:
 Lackluster Leroy Anderson, alas Aug 18, 2008
As one of the many who have fallen under the spell of Leroy Anderson's ingratiating orchestral miniatures, I looked with much anticipation toward this new Slatkin survey. Unfortunately, I found the pieces have received rather flat performances with little of the bounce and verve that gave them so much life in earlier editions. Can't say for sure whether it's the fault of Slatkin himself or that the members of the BBC Concert Orchestra just miss Anderson's particularly American blend of jazz-twinged light pop. Take not my word for it. Seek out the performances by the composer himself, available on a budget MCA multi-disc set on Amazon, or the equally fine performances by Arthur Fiedler and the Boston Pops. There, pieces like Fiddle Faddle, Sandpaper Ballet, Bugler's Holiday, Plink Plank Plunk, and the rest, have an effervescent bounce that brings out all of their lyrical charms. There's an earnest quality that comes across, a vitality and direct involvement that is totally lacking in Saltkin's merely dutiful renditions. If you haven't heard those earlier versions, and are relying only on the current set, a whole different world of Leroy Anderson delight awaits you. As far as the Slatkin set is concerned, I frankly wouldn't waste my time with them.
4 of 5 found the following review helpful:
 It's okay, but.... Mar 12, 2008
Though I greatly applaud Leonard Slatkin for his efforts to record the complete Anderson catalogue, unfortunately, I also take great exception to his-- shall we say-- "deliberate pacing" of each work. I don't think I have heard any of these works performed so slowly, almost to the point of being lifeless-- if such a thing is even possible for any Anderson work.
As an illustration, look at "Fiddle-Faddle." The conductor's score I have in my possession states that the playing time is 3:15. Anderson's own recording comes in at a clipped 3:13, while Fiedler's clocks in at 3:16. Leonard Slatkin's previous recording of the piece (on "The Typewriter" CD) came in at 3:27 and at that I felt it was a bit sluggish. I was shocked when I saw this new recording presented the work at a ponderous 3:43! This wonderful work which in almost all other recordings displays an unbridled expression of joy comes across in this new release as torpid and tepid. The musicians seem to be going through the motions with none of the accompanying emotions. And that's just "Fiddle-Faddle;" the same holds equally true, sad to say, with the majority of the works included in this disk.
This is just the first CD in a proposed 4-CD collection. I just hope Mr. Slatkin gets more into the mood of this project with subsequent releases and pick up the pace.
1 of 1 found the following review helpful:
America's Iconic Light Music Composer Feb 11, 2008
To those of us of a certain age, the music of Leroy Anderson represents the ne plus ultra of American light symphonic music. From the mid-1930s on Anderson was encouraged and his music was played frequently by Arthur Fiedler and the Boston Pops. It wasn't long before his music was being played by practically every ensemble in the country. One of his pieces, 'Blue Tango', even topped the popular hit parade for almost four months in the early 1950s. This CD is said to be the first in a series that will present all of Anderson's extant works, and it contains not only such familiar pieces as 'Fiddle-Faddle', 'Bugler's Holiday', 'Belle of the Ball', 'Blue Tango', and 'The Classical Jukebox' but others that are almost completely unknown, including his only essay in extended form, the Piano Concerto.
Not so well known are 'The First Day of Spring', a delicate dreamlike piece featuring a lovely horn melody, or 'Clarinet Candy', one of a set of pieces (including 'Fiddle-Faddle' and 'Bugler's Holiday') singling out a soloist (or soloists) from the orchestra. The 'Governor Bradford March' is the least Anderson-like piece here; it is a fairly straightforward Sousa-esque march written in honor of a Massachusetts governor in 1948; this is its first recording. 'The Captains and Kings' and 'The Golden Years' are mildly nostalgic (and perhaps ironic) celebrations of time gone by. 'China Doll', 'Arietta', and 'Balladette', those less known, are obviously on first hearing from Anderson's unmistakable pen.
The Piano Concerto, played here by pianist Jeffrey Biegel, has not had much play since its première by Eugene List in 1953. Anderson withdrew it as he was dissatisfied with its first movement. (I frankly think the jazzy fugato in that first movement is one of the best things in it.) He talked of revising it but never did. His widow released it for public performance in 1989 and it has had a few airings since that time. Like all Anderson's music, it is melodic and distinctly American. Slatkin, the BBC Concert Orchestra and Biegel give it a fine performance.
For those of us who have known and loved Anderson's music these past fifty or more years, this CD is self-recommending. For those who are unfamiliar with it, the music here will be ingratiating.
Scott Morrison
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