Classical Music

These performances are also available on VHS: RCA Victor Red Seal Video 68199.

Recorded between 1959 & 1975. Includes liner notes by Joseph F. Laredo.
Digitally remastered by Bill Lacey.

When Ray Anderson was 20 years old, a severe case of diabetes impeded his plans for the future when he suffered facial paralysis on one side of his face. Then, his wife passed away after a long battle with cancer, and the trombonist fell ill with laryngeal cancer a short time later. However, nothing could break the man, who is now 62 years old. He fought successfully for his life and, above all, for his music. This virtuoso wind player from Chicago counts free music, New Orleans, funk, new music, bebop, rap, and big band among his influences.

Classical Music

Since the robust development of the symphonic form in the 18th century, many composers, from Haydn, Beethoven, Mahler and Stravinsky, have written within the genre, creating engaging sonic worlds in and of themselves. Inspired by Arnold Schoenberg's two chamber symphonies, American composer Douglas Anderson presents three of his chamber symphonies on his debut release on Ravello Records, which aim to envelope the listener in a varied and multifaceted musical environment all the while exploring the genre using the necessarily limited timbral and harmonic palette of a small ensemble. Each of Anderson's three-movement chamber symphonies was written for a particular ensemble, deriving pitch material from the characteristics of the instruments. Chamber Symphony No. 2 (1989) was written for Oval Window Chamber Ensemble and premiered in 1989 at Weill Recital Hall at Carnegie Hall. Written for flute, clarinet, violin and cello, this work incorporates elements and characteristics from a variety of composers, from Mozart and Josquin Des Prez to Shostakovich. Chamber Symphony No. 3 (2001), written for and premiered by Eight Strings and a Whistle, features a short cadenza between the movements for each of the instruments - flute, viola, and cello - providing momentum leading up to an intense climax. Anderson's Chamber Symphony No. 4 (2011) was written for the piano trio and uses two serial rows, which are made more and more complex through a series of variations. The composer magnifies the scope of the symphonic form, taking it out of it's traditional context and restraining it to a smaller ensemble only to open up new realms in chamber music repertory

Long time Parma composer Doug Anderson is showcasing his legacy with One At A Time. As the name implies, Anderson's solo compositions act as milestones to the artist's musical development through the intimacy of solo instruments. As an instrumentalist early in his expansive career, Anderson found particular affection for live performance. In this album, you will hear the diversity of the composer's inspiration amid it's intense, physical element. The first track, appropriately named "... increasingly, physical... ", establishes tension with consistent building and release, creating captivating drama that draws the listener in immediately. Various artists spanning the artistic timeline of Anderson's career perform on One At A Time. Each track spotlights a different instrument, adding to Anderson's compositional legacy. "... increasingly, physical... " performed by Maureen Keenan, kicks off the album with her intense performance on the flute. The jazz-influenced composition is played with inescapable passion. Five Bagatelles and a Synopsis, on the other hand, is an exploration lead by pianist Jin-Ok Lee into a realm evoking free jazz sharing blurred lines with the avant-garde. Contrast that with "... springing, gradually... " which presents Debbie Schmidt and her French horn creating a grand orchestral sound that evokes nostalgia for the days of radio dramas. Anderson's One At A Time is nothing less than engaging. Listeners will be hanging on to every breath the musicians take. Performances are raw, emotionally arresting, and yet provide the perfect insight into the mind of a completely original and unique composition talent.

Classical Music

English pianist Roderick Chadwick has recorded the second volume in a series which presents Messiaen’s Catalogue d’Oiseaux coupled with works which are linked either in style or subject matter. This follows the well-received issue in October 2020 of the first volume, entitled ‘La Mer Bleue’ which included Book 1 of the Catalogue. This double album is a continuation of Chadwick's journey through Messiaen's Catalogue d'oiseaux, programming it alongside an array of solo piano works that share its themes, atmospheres and inspirations. The latest issue features Books 2 through 5, including the cycle's great centrepiece 'La rousserolle effarvatte' (The Reed Warbler), which evokes the sights and sounds of the Sologne region across a full day's span.

Roderick Chadwick, as both soloist and collaborator, has performed some of the most challenging works for piano; his recent Stockhausen disc was highly praised. He is a particular expert on Messiaen and in 2018 co-authored and published a book on the Catalogue d’oiseaux. He lives in South London and is Reader in Music at the Royal Academy of Music.

Includes work(s) by Jean Sibelius, various composers. Ensembles: Lahti Symphony Orchestra, Laulupuu Choir Lahti. Conductor: Osmo Vänskä.

It's hard not to like Leroy Anderson, a skilled orchestral craftsman with a rich supply of clever ideas, an ingratiating musical imagination, and, thank heaven, a sense of humor. Most of his music embodies the term "American light classical", and you can't listen to pieces such as Sleigh Ride or Bugler's Holiday without a smile and feeling just a bit lighter of spirit. The selections featured here, billed as a "collection of Leroy Anderson's holiday music", are taken from Naxos' excellent multi-volume series devoted to Anderson's orchestral music. Although it's not clear why such numbers as Horse and Buggy, The Waltzing Cat, and The Golden Years are here, in style and mood they take nothing away from the more obvious Christmas/holiday pieces. And while it's possible to imagine just a bit more personality and panache in the articulation in some places (à la Boston Pops), Leonard Slatkin is an unqualified expert in this repertoire, and he leads his British orchestra with consummately entertaining style, all of it most favorably recorded.

Four years ago Decca released A Leroy Anderson Christmas, which contains many of the same works featured on this program--performed both by the Boston Pops and Arthur Fiedler (Sleigh Ride) and by Anderson conducting his own orchestra. Although that one is worthy for its historical aspects, this one is superior for its consistently high-quality performances, much more satisfying ambience, and first-rate sound. Highly recommended.

--David Vernier, ClassicsToday.com

This recording includes the world premiere recording of an oratorio written by Julian Anderson (b. 1967), one of the most remarkable British composers of our era, conducted by the late Oliver Knussen and performed by Susan Bickley and the BBC Symphony Orchestra and Chorus. These recordings highlight the art of Julian Anderson and are a unique testimony of artistic collaboration and friendship between him and the conductor that lasted for 37 years. Julian Anderson was commissioned to write a substantial work for solo mezzo-soprano, chorus, and orchestra for the 2006 BBC Proms. This resulted in the creation of ‘Heaven is Shy of Earth,’ an oratorio based on texts by poet Emily Dickinson. The work also features texts of a Latin mass. Despite the predominance of Latin religious texts, this is not a sacred work. The insertions change the whole structure away from denominational Christianity and bring the liturgy out and into the natural world as a sort of secular Eucharist- a celebration and sanctification of nature itself. This substantial work ends in a beautiful climax of harmonious ecstasy, a movement which the composer added in 2010.

‘The Comedy of Change’ is a work for 12 instruments which pays tribute to Charles Darwin and celebrates the 150th anniversary of the publication of his book ‘The Origin of Species.’ The composer intended the work to function as both a free-standing concert piece and the score of a ballet. Anderson was concerned with both the inevitable and the unpredictable aspects of change.

Every note is taken seriously and every bar is chock-full of ‘pizzazz’

This, at least for me, is possibly the ‘best’ of the three Naxos CDs of Leroy Anderson’s music released to date. But that is simply because it has my favourite Anderson piece on it – the Serenata. Here is a miniature that conjures up the summer sunshine in Majorca or the Costa del Sol. But not just sunshine – there is quite definitely a beautiful senorita with smouldering eyes, blatantly portrayed by the ‘major’ key part of this piece ... But there are other reasons why this CD is ‘top of the pops.’ For example, it would be a stern person indeed who did not laugh out loud at the antics of the ‘band’ in the 1947 arrangement of Old MacDonald had a Farm – complete with a battery of animal noises, Surely a piece like this would bring the Albert Hall down on the ‘Last Night’?

The CD opens with a rather fun pre-war work - the Harvard Sketches which supposedly describes the antics of the students. The number opens quite innocuously with an impression of the Lowell House Bells, yet soon there is a change of mood when a clarinet strikes up a jaunty tune in Harvard Square. As it is a ‘freshman,’ I guess he does not realise this is ‘not appropriate music’ for the old Alma Mater. There are lots of ‘wrong’ notes! The silence of the Widener Reading Room is presented in a quiet reflective mood – only to be interrupted by strange noises representing chattering and of course the librarian ‘rapping the desk for silence.’ Harvard Sketches ends with a Confetti Dance. Surely the listener cannot help but be reminded of Charles Ives in this piece.

Melody on Two Notes is quite simply lovely. The tune is, based on the notes G and D but is presented in such a way that interest is never lost. However, it is the harmonies and the orchestration that bring character to this work. Alas, it is painfully short.

Mother’s Whistler, from 1940 and the Penny Whistle Song written eleven years later are typical Anderson numbers. The former was lost to the world until it was discovered in the Boston Pops library – this is its first recording. Apparently the composer was not happy with the piece. Look out for the barking dog! The Penny Whistle Song is really a quiet piece with a catchy tune; it is well-described as ‘happy go lucky.’

The Phantom Regiment is supposed to ‘depict a nameless body of soldiers marching into and then trotting across the scene – before marching away.’ It is interesting balance of military march and up tempo quick step. I guess that Plink, Plank, Plunk needs little introduction save to say that it has an infectious tune that stays in my brain for days after hearing it! It was written as a ‘sequel’ to the equally memorable Jazz Pizzicato. Anderson composed Promenade whilst he was still in the Army – and this is certainly obvious in the military atmosphere of this tune. It is no amble in ‘Central Park before Dark’ but is much more West Point on a passing-out parade day. The Sandpaper Ballet is one of those pieces that every one knows but can never quite put their finger on. I guess it is the rubbing of the various grades of sandpaper replicating the old ‘soft shoe shuffle’ that gives the game away – but just try to recall the title the next time you hear this piece! The Saraband is my least favourite number in this collection – however I know that Anderson’s ‘take’ on the baroque dance –for example, suddenly doubling the speed of the music - is popular in many quarters.

Of Sleigh Ride I need say little – save it is one of the most Christmassy pieces I know of. It makes me dream of the deep snow that we had way back in 1963! Other well-known tunes include The Typewriter with its ‘Oh, so obvious’ sound effect – yet it still makes people smile when they hear it for the umpteenth time. And then there is the Trumpeter’s Lullaby which was composed as a ‘show piece’ for the Boston Pops lead trumpet player – Roger Voisin. The Syncopated Clock was used as a theme tune for the CBS-TVs ‘The Late Show’ and became a ‘household’ jingle. It does not need a listener to be a genius to deduce that Anderson will make the clock ‘tick’ both on and off beat! This is a great tune to wrap up the CD.

However there are two other works that deserve mention. In fact, the Suite of Carols for Brass Choir is the longest work on this disc. Of course, it is the wrong time of year for listening to this kind of music - as it is for the Sleigh Ride - but it was well worth hearing. Leroy Anderson wrote three ‘carol’ suites for a special ‘Holiday’ season album – one for strings, one for winds and the present Suite. Rarely for the composer, this music is almost entirely devoid of the usual ‘fingerprints.’ They are actually well-written, neo-classical arrangements and should be listened to as such. The carols selected include:- In Dulci Jubilo: Lo, How a Rose E'er Blooming: I Saw Three Ships: From Heaven High I Come to You; We Three Kings of Orient are and March of the Kings.

And last, but not least, is the arrangement of George Gershwin’s Wintergreen for President. This is a number from the show Of thee I sing which is set in the White House! This is one of the composer’s earliest pieces – but certainly deserves our attention with its ‘bustling manner’.

It is self-evident that Leonard Slatkin and the ‘band’ enjoy themselves playing this music. There is, I guess, an ever-present danger that players could be condescending to Anderson’s music when they have perhaps been wrestling with Mahler, Boulez or Pärt. However, in this recording, every note is taken seriously and every bar is chock-full of ‘pizzazz’.

A great disc – and I am looking forward to what I imagine will be the fourth and final CD?

-- John France, MusicWeb International

Also available - Leroy Anderson: Orchestral Music Vol 1
Jeffrey Biegel's rendition of the terrific Piano Concerto is the best yet. The playing by the BBC Concert Orchestra is relaxed and charming. Under Slatkin's baton the melodies flow effortlessly, and clearly a good time was had by all. -- ClassicsToday.com

Also available - Leroy Anderson: Orchestral Music Vol 2
If you enjoyed Vol. 1 in this ongoing series of Leroy Anderson's warm and beautifully crafted orchestral works, then you'll surely want this release as well. The performances are just as fine, and once again we get several important premieres. Anderson's brand of melodious charm is timeless. -- ClassicsToday.com

Leroy Anderson occupies a unique place in American music. Rigorously trained in the classical tradition, Anderson wrote tunes that topped the pop charts, making compositions such as Sleigh Ride and The Typewriter world famous. Anderson was a meticulous craftsman who could seemingly compose marvelous tunes at will, and he has been praised by composer John Williams as 'one of the great American masters of light orchestral music.' This first set of Anderson's orchestral music includes several previously unpublished pieces made available by the Anderson family, with world premiere recordings included among many familiar and not so familiar titles.

The 15 tracks on Thad Anderson’s LINES & SPACES are from his Lines series, based on his compositional technique called “duration lines” that create both structure and polyrhythmic interest. Anderson integrates traditional instruments with fixed media, live processing, and tuned metals to create pieces that are infinitely malleable. For these compositions, Anderson draws inspiration from poetry, paintings, and some early writings that predict many of the technologies now integrated into daily life. His Route is loosely based on the Emily Dickinson poem, “A Route of Evanescence,” which explores the mesmerizing hummingbird during flight. On Route, one might imagine the interaction between saxophone and electronic playback as representing the hummingbird and its surroundings. Re-Cite was inspired by painter Ellsworth Kelly’s 1951 piece Cite, which used chance practices to create a random arrangement of black and white squares. The quintet for flutes and fixed media, Through-line, refers to a central theme or idea — an invisible thread that runs from the beginning to the end of work. In this instance, the through-line is both the duration lines that are used throughout the piece and a seven-chord progression that is used in the odd numbered sections. Using a duration line set, Outside, Looking In features layers of single line fragments that segue and weave between one another. On this solo piano piece, the composer effectively positions the piano as a percussion rather than string instrument. Both As We May Think and Mechanization were inspired by an article by engineer and inventor Vannevar Bush (1890 – 1974) that appeared in The Atlantic in 1945. In the former, the spoken component of the electronic playback audio derives from an archived interview with the author.