- Horse & Buggy
- A Trumpeter's Lullaby (Trumpet Solo: James Burke)
- Song Of The Bells
- Summer Skies
- Sleigh Ride
- Clarinet Candy (Soloists: Vincent Abato, Herbert Blayman, Roger Hiller, Bernard Portnoy)
- The Golden Years
- Lazy Moon
- I Never Known When
- The Pussy Foot
- Home Stretch
- Shall I Take My Heart
- The Captains And The Kings
- Town House Maxixe
- Pirate Dance
- The Irish Washerwoman *
- The Minstrel Boy *
- The Rakes Of Mallow *
- The Wearing Of The Green *
- The Last Rose Of Summer (With Violin Solo) *
- The Girl I Left Behind Me *
The Collection - Disc Two
Anderson and his musical world are unique; this was best illustrated when a musicologist, at a loss to define a specific kind of music then under discussion, solved the problem most felicitously by simply calling it "Leroy Anderson Music". Verbal descriptions of music are, at best, vague; music's very essence being elusive to the word. The musicologist, not wanting to fall back on the usual meaningless jargon - "semi-classical" or "light music", for example - came up with a more fitting terminology by invoking the name of the most celebrated practitioner of a highly specialized branch of music.
Of course, the music of Leroy Anderson speaks - or rather sings - for itself. Because he is a superb musician as well as an inimitable creator, Leroy Anderson can deftly use any number of musical devices, the same ones employed by Bach, Beethoven and other masters, to the delight of every one - even those who find so-called "classical" music too much for them. In fact, musical historians are already recognizing the fact that, in addition to his purely musical contributions, Leroy Anderson has added another important one. He is helping to break down that artificial iron curtain dividing serious and popular music.
How does this extraordinary man do this? While there is no explaining, defining or analyzing his unique gift for musical invention, the composer himself has furnished a small clue when he modestly said, "It's all a matter of time". This is merely another way of saying that a good deal of hard work and thought goes into every detail of each composition. Leroy Anderson does a lot of "composing in the mind", he will tell you, before he so much as sets a single note to paper. An entire year may go into the writing of a work, or a few bars may remain just a few bars until they can be developed into precisely the musical idea the composer has been seeking.
When the time comes for capturing the sounds in his mind on paper, Leroy Anderson is especially "careful scoring, editing and cueing". Each instrument assigned particular job at its proper moment and the entire composition is polished to that mysterious point where it contains exactly the right number of notes. One more or one less would spoil the total effect. The miracle is that, for all the painstaking labor, each composition by Leroy Anderson invariably sounds as if it had sprung spontaneously to life at the moment we hear it - fresh, ever new and enchanting.
Watching Leroy Anderson conduct his own music - for conducting too is among his accomplishments - is a revelation. His conducting is as uncluttered, undemonstrative, and to the point as is his music. It was interesting to observe, also, the reaction of the members of the orchestra to the music; their pleasure in playing the music was obvious, but even more telling was the fact that during the rest periods between "takes" they derived further pleasure by whistling the same music while they waited!
Needless to say, no conductor conducts Anderson as does Anderson; his is music that sings and dances in an inimitably captivating manner. It is, in short, "Leroy Anderson Music".
(Edward Jablonski, from the original liner notes)