Leonard Bernstein: Symphonic Dances from West Side Story (1961)
Charles Ives: Symphony No. 3 'The Camp Meeting' (1911)
Samuel Barber: Overture to 'The School for Scandal', Op. 5 (1931)
Ruth Crawford (Seeger): Andante for Strings (1931)
Samuel Barber: Toccata Festiva, Op. 36 for Organ and Orchestra (1960) - Paul Jacobs (Organ)

The Lucerne Symphony Orchestra may not be one of the first orchestras that comes to mind when you're contemplating a recording of highly archetypal American symphonic music, and yet it's the oldest orchestra in Switzerland, established way back in 1805. Its long list of chief conductors over the years includes such luminaries as Willem Mengelberg and Jonathan Nott. What started out as the city's music society with some two dozen amateur players has since grown into a remarkable ensemble of around seventy seasoned professionals, led by American conductor James Gaffigan. His work in North America has ushered him to lead some of the top orchestras including Cleveland, Chicago, Los Angeles, Toronto, Montreal, Pittsburgh and San Francisco, which explains his flair for the "American" sound and manner.

You would be amazed at how well they capture and project the rigorous jazzy swagger of West Side Story's Prologue, or the sad yearning of Somewhere. And it sounds like the percussion players are having the times of their lives during the Mambo and Cool Fugue segments. Leonard Bernstein at his most 'big city America'. On the other hand, Charles Ives (1874-1954) gradually slipped into his American persona. Following his European sounding first two symphonies, he circumspectly started introducing quintessential American folk songs, hymns and marching band tunes within the fabric of his orchestration, to the point where in his Fourth Symphony for example a complex clash of differing tunes and rhythms are brought together to the dismay of most conductors. Here, within his Symphony No. 3 'The Camp Meeting', James Gaffigan and the orchestra members well project the dichotomy between the old and new Charles Ives. If you are familiar with some of Ives' works, this symphony is very much in line with Three Places in New England and Central Park in the Dark, which were written around the same time.

The most steadfastly striking and distinctively "American Orchestral" work here is the Toccata Festiva, Op. 36 for Organ and Orchestra by Samuel Barber (1910-1981). From its powerful fanfare entrance, to brooding strings and soft organ stops, to captivating harmonic progressions, declamatory organ utterances and an aptly rousing finale, it leaves an indelible impression. Organist Paul Jacobs' instinctive connection with the music's intent is tangible, and again Gaffigan and the musicians of the orchestra deliver a passionate account.

The cover of the CD seems to imply: "We Americans like to impress!" Well this recording certainly does just that.