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Pilgrim’s Progress. Pioneers of American Classical Music Leonard BERNSTEIN (1918-1990): Candid Overture (1956) [4’09"] Florida Philharmonic Orchestra conducted by James Judd Ferdé GROFÉ (1892-1972): Hollywood Suite: Production Number (1938) [2’21"] Bournemouth Symphony Orchestra conducted by William Stromberg Leroy ANDERSON (1908-1975): The Syncopated Clock (1946) [2’26"] Richard Hayman and his Orchestra Aaron COPLAND (1900-1990): Danza de Jalisco (1959) [3’36"] Nashville Chamber Orchestra conducted by Paul Gambill Amy BEACH (1867-1944): Piano Concerto: Scherzo (1898-99) [5’57"] Alan Feinberg (piano); Nashville Symphony Orchestra conducted by Kenneth Schemerhorn Leo ORNSTEIN (1892? – 2002): A Morning in the Woods (1971) [6’20"] Janice Weber (piano) Charles Wakefield CADMAN (1881-1946): The Legend of the Canyon (1920) [4’07"] Peter Zazofsky (violin); Paul Posnak (piano) Samuel BARBER (1910-1981): Violin Concerto: Presto in moto perpetuoso (1940) [4’01"] James Buswell (violin); Royal Scottish National Orchestra conducted by Marin Alsop John Philip SOUSA (1854-1932): Semper Fidelis (1888) [2’56"] Royal Artillery Band conducted by Keith Brion Michael TORKE (b. 1961): Rapture: Mallets (1998/2001) [6’24"] Colin Currie (percussion); Royal Scottish National Orchestra conducted by Marin Alsop Ned ROREM (b. 1923): Bright Music: Fandango (1987) [3’51"] The Fibonacci Sequence Jerome MOROSS (1913-1983): Willie the Weeper: Sexy Willie (1948) [8’00"] John DeHaan (tenor); Hot Springs Music Festival Chamber Chorus; Hot Springs Music Festival Symphony Orchestra conducted by Richard Rosenberg George GERSHWIN (1898-1937): Cuban Overture (1932) [10’44"] New Zealand Symphony Orchestra conducted by James Judd Recording dates and locations not specified NAXOS 8.559200 [64’58"]

Through their American Classics series Naxos have been doing sterling work in bringing a great deal of American music, much of it little known, to a wider public. I take my hat off to them for being enterprising in their choice of repertoire (though that should surprise no one). Thus, although familiar fare by Barber, Bernstein and Copland has appeared the majority of issues in the series have featured music which is much less well known. Although the quality of repertoire has been uneven Naxos certainly merit full marks for being so adventurous. The present disc is a sampler for the series. Even here the choice of music is wide and eclectic. In truth only the items by Barber, Bernstein, Gershwin and the jaunty Sousa march will be familiar to most collectors. The item by Copland may not be too familiar; it’s one of his Three Latin American Sketches, one of his less frequently heard orchestral works. For the rest, the music lies a bit more off the beaten track. It’s nice to hear music by Grofé other than the ubiquitous Grand Canyon Suite. The chosen excerpt from his Hollywood Suite conjures up effortlessly the big band sound familiar from RKO Radio Pictures movies of the 1930s and the Bournemouth Symphony Orchestra play in splendidly unbuttoned style, especially the "lounge lizard" saxophones. Partly on account of his longevity, the music of Leo Ornstein attracted some attention when the CD from which this piece is taken was released (along with at least one competitor on another label, I seem to recall) but I hadn’t caught up with his work until now. I’m bound to say that I wouldn’t want to pass judgement on the basis of one fairly short piece. A Morning in the Woods is pleasant enough, if a little rambling. However, those who like Romantic or Impressionist piano music may well be tempted to explore further on the strength of Janice Weber’s advocacy. Collectors should certainly be stimulated to investigate the music of Amy Beach by hearing the sparkling scherzo from her Piano Concerto. This is taken from a very fine disc coupli