Irish Washerwoman

The piece moves in the rolling, hopping meter of a traditional jig, a rhythm built in groups of three that gives the music a constant forward bounce rather than a square, marching feel. The familiar folk tune is stated clearly near the beginning, likely in a bright solo instrument or a small group within the orchestra, before Anderson passes it around to different sections, dressing the same simple melody in fresh orchestral colors each time it returns rather than developing it into something more complex. That approach, taking a well known tune and showing it off in a series of quick costume changes, is a hallmark of Anderson's writing more broadly, the same wit and polish he brought to original novelties like Sleigh Ride and The Typewriter. Expect crisp, clear orchestration throughout, nothing murky or thick, with percussion and light brass adding sparkle rather than weight. The tempo stays fast and buoyant from beginning to end, building a little in energy and volume as more of the orchestra joins in, before a quick, cheerful close that never overstays its welcome.

In 1947 Leroy Anderson, an American composer already known for witty, polished orchestral miniatures, turned his attention to a set of traditional Irish melodies, orchestrating them into a suite for the Boston Pops Orchestra under its longtime conductor Arthur Fiedler. The Irish Washerwoman, an old dance tune whose title refers to a stock character from Irish folk tradition, became one of the liveliest movements in that set, matched by other well known tunes treated with the same bright, transparent orchestration Anderson brought to his own original pieces. The suite let Anderson apply his gift for concise, colorful orchestral writing to music that was not his own invention, and it remains a favorite of pops programs that pair his original novelties with his folk tune arrangements.