Symphonette No. 2, "Second American Symphonette"
Symphonette No. 3, "Third American Symphonette"
Symphonette No. 4, "Latin-American Symphonette"
Spirituals for Orchestra

Stir in equal parts of Bernstein and Copland, a teaspoon of Gershwin, a pinch of Grofé and a cup of Leroy Anderson, and you get a taste of what the style and sound of American composer Morton Gould (1913-1996) is like. More of a tradesman than an artist, he applied his trade to many facets of the business including, Broadway, film, crossover and classical, and as a conductor of popular music. His music incorporates many different styles including jazz, blues, American ethnic and of course 20th century "classical". An extreme example of his vacillation between styles becomes apparent when you compare a significant work like his Piano Concerto from 1937 to something like Foster Gallery from 1939 based on Stephen Foster songs, which was recorded by the Boston Pops Orchestra. His connection with the lighter side of music eclipsed the fact that he was a serious composer as well. With that said, his music is always well crafted, memorable and accessible.

Don't take my word for it but I don't see any other recordings listed of the Symphonettes, so these may be premiere recordings. The opening movement of the Symphonette No. 2, "Second American Symphonette" has an engaging Duke Ellington swagger to it and a "big band" feel. The main tune of its slow movement scored for solo trumpet sounds like something a jazz crooner would whistle walkin' down the avenue. With trombone slides, clarinet riffs and muted trumpets the opening movement of the Symphonette No. 3 also has all the swing of a big band, while its slow movement sounds like it belongs in the background score for a film noir. Meanwhile the "Conga" from the Symphonette No. 4, "Latin-American Symphonette" sounds so Latino that you can visualize Carmen Miranda dancing to it.

Conductor Arthur Fagen was a friend of Morton Gould which explains why he can so easily coax an Austrian ensemble, the ORF Vienna Radio Symphony Orchestra, to slide into American garb with such conviction. It's nice to see the Naxos label still adding titles to their American Classics series which has played a great role in the renewed interest into well known works as well as neglected gems.