Peter Boyer's earlier Naxos release, Ellis Island, was a Grammy finalist, but that single work, an oratorio, does not represent his popular composition style as well as this new album, which features the composer himself leading the London Philharmonic Orchestra. Boyer's music speaks of current culture, borrowing much from cinema to the point of threatening parody, and I recall artist Andy Warhol. The album opens with a bang. The first selection, from 2004, is Silver Fanfare for brass and orchestra, the first movement of six of his On Music's Wings (not included). If that rousing flourish was insufficient, the next work, Festivities (2011) carries on the strong presentation with cheer, lush melody, deep harmony and strong rhythm. The brass leave the stage for a string orchestral rendition of Three Olympians (2000), which are Apollo, Aphrodite, and Ares. Boyer's interest of mythological symbols was translated to some powerful musical representations of harmony, lyricism, and rhythm. His romantic approach, filling the shoes of Aaron Copland as America's new populist, continues with another bright orchestral opening, his Celebration Overture (1997/2001). It is one of his earliest commissions, which was for the Henry Mancini Institute young musician training program. It commences in anticipation, increases in volume and tempo, and blossoms into a brass and piano exposition of joy; mid way it slows and quiets to reflection but arises again to a fanfare conclusion. The major selection is the three-movement Symphony 1, hot off the press (2012/2013). Here is an American symphony that brings to mind Howard Hanson and Samuel Barber with the exuberance of Leonard Bernstein. The Prelude is much like Boyer's festive pieces but concludes tranquilly and thoughtfully. The Scherzo/Dance has the expected swirling, energetic flow at the outset, shifts to a slower. lyrical dance, and returns to fast and bright rhythms (12 and 13 note, 3-beat patterns). The final Adagio, the longest section, provides a slow thematic development with orchestral sections offering rich harmonies and textures: horn and trumpet dialogue, string quartet, harp and celeste treble ornamentation, leading to the crescendo of full orchestral statement. Boyer thus far presents direct affirmative musical forms lacking deep complexity and postmodern edginess, but this is a good thing as he fills a gap in classical Americana long empty. We can leave the symphonic hall feeling good and optimistic.