// I don't know of any other use of the phrase but in any event the main idea was to depict a group approaching from the distance and then
receding. This is an effective musical device and the best known example is probably the "Maroh of the Pilgrims" from Berlioz' "Harold in Italy". I also used this device in "The Minstrel Boy", one of the numbers in the "Irish Suite". In "The Phantom Regiment" I probably used the word "phantom" to avoid an explicit reference, leaving it to the listener to imagine what kind of group it was."
- Leroy Anderson
[Ref] July 9, 1973 letter addressed to Mr. Arthur Beaudry, 703 Daniels Ha11, University o:f 111inois, Urbana, Illinois 61801 (Leroy Anderson Archive)
Leroy Anderson completed "The Phanton Regiment" at Painter Hill Road in Woodbury, Connecticut.
1. Decca Records recording session, Manhattan Center, New York, NY; Leroy Anderson, conductor; June 29, 1951.
Leroy Anderson conducted a studio orchestra in his 1953 Monaural recording of "The Phantom Regiment" for Decca Records. 49 musicians, many of whom were the Principals of their respective orchestra sections, came to perform for the recording. They were chosen from the New York Philharmonic, the Chamber Music Society of Lincoln Center, the NBC Symphony, the Philadelphia Symphony Orchestra, Chicago Symphony Orchestra, The Goldman Band and the Beaux Arts Trio.
The studio orchestra included 10 First Violins, 6 Second Violins, 4 Violas, 4 Celli, 3 Basses, 3 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, 4 Horns, 3 Trumpets, 2 Trombones, 1 Piano, 3 Drums.
2. Decca Records recording session, Manhattan Center, New York, NY; Leroy Anderson, conductor; May 28, 1959.
Leroy Anderson conducted a studio orchestra in his 1959 Stereo recording of "The Phantom Regiment" for Decca Records.
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