Spirit of the American Range is a classical music album by the Oregon Symphony under the artistic direction of Carlos Kalmar, released by the Dutch record label Pentatone on February 10, 2015.

Spirit of the American Range was released by the Dutch record label Pentatone in February 2015, following a pre-release by the Oregon Symphony on January 8.

[4] The album was the third recording by the orchestra during Carlos Kalmar's tenure, following the highly successful Music for a Time of War (2011) and This England (2012).

The album's liner notes are credited to Elizabeth Schwartz with German translations by Franz Steiger; its cover photo was taken by Martha Warrington, and it features designs by Freshu.

[1]Kalmar said of the recording, "It is a great pleasure to share these important American works for which I have the greatest fondness and appreciation.

[1] The Incredible Flutist (1938), Piston's only composition for the stage, received its premiere at Symphony Hall on May 30, 1938 by the Boston Pops under Arthur Fiedler.

It is written for three flutes, two piccolos, three oboes and English horn, two clarinets, E-flat clarinet, bass clarinet, two bassoons and contrabassoon, four horns, four trumpets, three trombones and tuba, timpani, two harps, celesta, piano, strings, and a variety of percussion instruments, including bass drum, tam-tam, cymbals, xylophone, glockenspiel, tenor drum, wood block, snare drum, triangle, slapstick, ratchet, anvil, claves, and tubular bells.

[11] Classical Voice North America's Paul E. Robinson said the album's contents were unrelated to its title, and had "nothing whatever to do with the early days of the American West", but complimented the orchestra's performances.

He praised the "excellent" flute soloist in The Incredible Flutist, called the performance of Copland's symphony "more careful than inspired", and noted the "vast dynamic range" created by the label's sound technology.

"[13][14] Anthony Tommasini, music critic for The New York Times, called the recording "exciting" and said the Piston piece received a "supple, colorful performance".

"[15] The Oregonian's David Stabler praised the Oregon Symphony for recording the lesser-known works by Piston and Antheil.