Symphony No.1 - Walter Piston
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- Опубликовано: 7 фев 2025
- Louisville Orchestra conducted by Jorge Mester
I - Andantino - Allegro: 0:00
II - Adagio: 9:36
III - Allegro con fuoco: 22:09
The first symphony of Walter Piston was completed in 1937, premiered on April 8, 1938, performed by the Boston Symphony Orchestra conducted by the composer himself. By the time Piston finished it, he was 43 years old. The work, like most of Piston's symphonies, is in three movements. Critics ranged from wildly enthusiastic to reserved. The work is dedicated to Antal Dorati and the Dallas Symphony Orchestra.
As with the much later Symphony No.8, twelve-tone technique is incorporated into a broader palette of compositional elements. Piston had studied the twelve-tone techniques of Arnold Schönberg by applying them in some of his works, including this one.
The first movement, in sonata form, begins with a slow introduction, based on an ostinato presented in the pizzicato basses, accompanied by wind solos. This ostinato consists of nine of the twelve chromatic notes, and the remaining three are found in the theme played above it. The first theme is vigorous and of a nervous rhythm, followed by a second lyrical theme. The mood is somber and poignant. Despite the chromatic saturation, this movement (as well as the finale) is in the tonality of C. The development is based on the main theme, after which a brief recapitulation ends calmly, with a reminiscence of the introduction.
The second slow movement is in a ternary form (A-B-A). It begins with the presentation of a melancholic theme through the English horn. In its development, Piston uses a chromatic harmony. After a delicate central section with woodwind solos, its character intensifies until it reaches its climax, ending sweetly with the English horn theme of the begining.
The third and last movement is in a rondo form, full of force and energy. The main theme is strongly rhythmic, followed by the nine-note ostinate from the introduction as a second subject (in inversion). But soon it is dragged by the force of the main one. This recurrence of material from the opening movement does not provide a sense of closure or completeness immediately. Instead, it kicks the atmosphere of the movement up to a tense and unsettled mood. The themes are brought to a powerful climax, as if they wanted to show the power of the new American music. The conclusion is in a major chord, but there is an ambiguous feeling to this "victory."
Picture: Silhouette of the city of New York.
Sources: en.wikipedia.o..., www.historiadel... and www.allmusic.c...
19-year old Leonard Bernstein reviewed this symphony's premiere for the magazine Modern Music: "adverse criticisms were profuse and diverse: some thought the Largo unduly long and uninteresting; others thought that the work lacked emotional appeal...[still], no one could deny the expert handling of the orchestra, the innovations in instrumental tone color, the never-failing good taste, the master proportioning of the structure, and fine lyric sense which Mr. Piston has not often betrayed in the past."
This is a beautiful, powerful and accomplished First Symphony by one of America's greatest composers. Piston's music breathes with a refreshing elan, and uplifts the spirit.
It is sorrowful that much of Walter Piston's music has been so neglected since his death in 1976. He was a major force in American music, as this 1st Symphony demonstrates here.
Yes....monumental...complex. I never heard it before.....BRAVO!
Hello David A ! Well said: as composer and educator ! I feel like his harmony is attractive because (among other things) the music does not remain constantly in tension and does admit tradition.
I agree. Each piece Piston wrote has nuances that are unique and different from each other. Fantastic music. I am collecting all his musical recordings on top of all of his books which I have.
@@hectorbarrionuevo6034 Absolutely right Hector, and so sorry for not responding earlier. I am a failed composer, but no grudges, some of us get there, some of us don't :-) You obviously have a true understanding of music, judging by your short but intelligent comment.
@@GaryGP40 You are right Gary, Walter Piston is often misunderstood and not programmed for obvious reasons (money). His use of the Schoenberg 12 tone system was ground breaking, but actually was better known for his teaching. I believe he taught at Harvard for over 35 years!!
Extraordinary music.
sounds incredible....i really dig his music 🎵
Wow! Bravo Mr. Canovas, you uploaded every one of Piston's symphonies!
I own all Walter Piston's books so it is only right to enjoy his works as well. The dark melancholy of the opening movement reminds me of a damp, foggy night where things are not quite as they seem, shapes in the fog. As the motifs emerge, shapes appear and move around, some moving back to quiet solitude and some emerging sharp and crisp. A perfect accompaniment to a night reading Harmony or Counterpoint or even a rereading of the Principles of Harmonic Analysis and listening to what WP wrote versus what he enthused in his written texts.
Do you happen to know is there somewhere a site where I can read or download free "Principles of Harmonic Analysis"?
incredible books for sure
very wonderfful music!
This is great symphony! I love angular melodies. With the exception of Aaron Copeland and Samuel Barber no other vital American composer ever gets programmed in the Concert Halls. A shame. All 8 of Piston symphonies are vital.
Piston's tome "Harmony" is a classic in the field of musicology.
Piston wrote several theory textbooks used in music schools, departments, and conservatories, and composed some awesome music as well ! The Symphony's first and third movements are driving, dramatic, moto perpetuo-like, and coloristic. The harmonic language remains tensive throughout, but the work is accessible, compelling, and ends triumphantly !!!
I own all Walter Piston's books. I enjoy all of them. Harmony is getting dog eared now. His music hits the spot. The tone color of the 1st symphony is very brooding, like zombies emerging from a dense fog, driven back by the light of day and perhaps lurking again, brooding, scheming and ready to emerge again, a sort of idea that I think Rachmaninov was thinking in 'Isle of the Dead' -- which is also fantastic.
I studied from Piston's book "Harmony - Third Edition". I have to be honest and say that I am a little insulted that Mark DeVoto chose to revise the book in a Fifth edition and use Piston's name as the main author. I just do not think he or the publishers had the right to do that. Devoto should have written his own book and noted that with the publishers permission used certain text from Piston's book.
@@GaryGP40 Hello, Gary ... Sorry for the late reply .... I learned Harmony in the late 1980s, from his text, one edition from the 1940s (don't know which). I'd like to get his Counterpoint and Orchestration texts ! Liked your mentioning of Rachmaninov's Isle of the Dead ! Best !
@@boydcannon422 Hello Boyd ... I learned from Piston's book as well. I don't know why it has a bad reputation as a harmony text. To me, not one textbook will give any student everything s/he needs to become proficient. I sometimes go back to Albrechtsberger's text (1790s) or Tchaikovsky's text, ... or Messiaen's, or ... any other. But, yes, I enjoyed the Piston's. Best !
@@hectorbarrionuevo6034 I learned on either third or fourth edition. My school had old books. Chapter 9 was on the 6/4 chord and chapter 10 was cadences. I was in Ch. 10 where my fellow students were on Ch. 3 or 4. I was ahead of 2nd year harmony students! My teacher told me I was her most gifted harmony student. :) I own both Counterpoint and Orchestration as well as Principles of Harmonic Analysis (first or second edition, can't quite tell) of Piston's
Dear Sergio Cánovas - This is very nice! This music has a Calming Effect on the mind/body. Awesome! Thanx 4 Sharing, pal!
like henry Cowell,dam underated ,never any of these American composers ver get on the concert programme.
Walter Piston, the Leonard Bernstein's teacher in composition, the author of fundamental books about harmony, orchestration etc.
So we have him to blame for Bernstein?
Sounds like he couldn't leave Gershwin alone. But for that element - I'd maybe like this.
Qué dolor escuchar esto.