Chamber Music

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Chamber Music

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dc.contributor.other Walter Piston es
dc.contributor.other James Buswell es
dc.contributor.other Michele Walsh es
dc.contributor.other Michael Gurt es
dc.contributor.other Ian Munro es
dc.contributor.other Olga Shylayeva es
dc.coverage.spatial Australia es
dc.date.accessioned 2013-09-06T16:34:24Z
dc.date.available 2000
dc.date.available 2013-09-06T16:34:24Z
dc.date.copyright 2000
dc.date.issued 2013-09-06
dc.identifier.uri http://hdl.handle.net/123456789/3862
dc.description.abstract Walter Piston was a leading light among those mid-twentieth century American composers who opted to explore traditional musical forms and language. Although he was perhaps better known as a teacher and the author of a widely used book on harmony than as a composer, Piston's music displays superb craftsmanship within his selected neo-Classic-Romantic idiom. Piston was born in Rockland, ME, of Italian lineage; the family name had been Pistone but his grandparents had Anglicized it by dropping the "e." His parents moved to Boston in 1904. In his teens, Piston's musical education commenced with piano and violin lessons. At that time, however, painting was his main interest, but he conceded the superiority of his future wife, Kathryn Nason, in that field and concentrated on music. With the entry of the United States into the First World War, Piston hurriedly crammed the rudiments of saxophone technique and enlisted in the Navy as a band musician. In between rehearsals and performances, he familiarized himself with most of the other instruments in the band, learning to produce at least a few tunes on each one. This was an invaluable experience for one whose name would become linked to orchestral composition. After the war, Piston entered Harvard and began to study music in earnest, graduating summa cum laude in 1924. From there he went to Paris on a Paine Fellowship to study with Paul Dukas and Nadia Boulanger. This was a heady time, for many of who would become America's most noted composers were under the wing of the latter: Copland, Harris, Thompson, and Barber, to name a few. Piston returned to the U.S. in 1926 and joined the faculty of Harvard, retiring in 1960. In 1928 the Boston Symphony under Koussevitzky performed Piston's Symphonic Piece. Although it met with moderate success and acclaim, the composer chose not to publish it and followed it with his Suite for Orchestra which met with more acclaim, finding a champion in Stokowski, who performed the work with the Philadelphia Orchestra. In 1938 his ballet The Incredible Flutist was performed, and the suite from this was for a long time his most celebrated work. Meanwhile, Piston had commenced upon his series of eight symphonies with his First in 1937. With these the composer revealed his prowess in the field of large-scale absolute music, garnering a steady stream of prestigious awards and honors, among them the New York Music Critics Circle for the Second Symphony (1945), and the Pulitzer Prize for the Third (1948) and the Seventh (1959). In the last year of his life, Piston achieved what may have been his largest audience when a performance of the Second Symphony was televised on PBS's Evening at Symphony. As a composer, Walter Piston remained an enlightened conservative. Taking the neo-Classic mode of expression and infusing it into larger Romantic forms with flawless craftsmanship, he was one of the great bearers of the symphonic tradition in the twentieth century. © Wayne Gerard Reisig, All Music Guide es
dc.description.tableofcontents Quintet for flute and string quartet (1942) ; Allegretto moderato grazioso, Andantino con espressione, Vivace e leggero, Allegro non troppo-- String sextet (1964) ; Adagio espressivo, Leggerissimo e vivace assai, Energico-- Piano quartet (1964) ; Leggero e scorrevole, Adagio sostenuto, Allegro vivo-- Piano quintet (1949) ; Allegro comodo, Adagio, Allegro vivo-- es
dc.format.extent 69:44min es
dc.format.medium 1 CD Rom (69 min., 44 seg) : Stereo 4 3/4 plg es
dc.language.iso en_US es
dc.rights Uninorte F.m Estéreo es
dc.subject.lcc 45052250 es
dc.subject.lcsh Quintets, String sextets, Piano quartets es
dc.title Chamber Music es
dc.title.alternative Chamber Music es
dc.language.rfc3066 eng es
dc.rights.holder Hnh International Ltd. es
dc.identifier.classification 636943907122 es
dc.subject.cdu Pis.05 es


Files in this item

Files Length Size Format View Description
1. Quintet for ... etto moderato grazioso.mp3 4:52 6.686Mb MPEG Audio mp3
2. Quintet for ... antino con espressione.mp3 6:15 8.571Mb MPEG Audio mp3
3. Quintet for ... 42) - Vivace e leggero.mp3 2:19 3.179Mb MPEG Audio mp3
4. Quintet for ... ) - Allegro non troppo.mp3 4:20 5.945Mb MPEG Audio mp3
5. String sextet (1964) - Adagio espressivo.mp3 10:39 14.61Mb MPEG Audio mp3
6. String sexte ... rissimo e vivace assai.mp3 3:20 4.581Mb MPEG Audio mp3
7. String sextet (1964) - Energico.mp3 3:58 5.438Mb MPEG Audio mp3
8. Piano quartet (1964) - Leggero e scorrevole.mp3 5:58 8.184Mb MPEG Audio mp3
9. Piano quartet (1964) - Adagio sostenuto.mp3 5:18 7.273Mb MPEG Audio mp3
10. Piano quartet (1964) - Allegro vivo.mp3 2:55 3.998Mb MPEG Audio mp3
11. Piano quintet (1949) - Allegro comodo.mp3 6:22 8.732Mb MPEG Audio mp3
12. Piano quintet (1949) ; Adagio.mp3 7:36 10.42Mb MPEG Audio mp3
13. Piano quintet (1949) - Allegro vivo.mp3 5:05 6.982Mb MPEG Audio mp3
Quintet for flu ... rtet (1942) - Completo.wav 17:35 177.4Mb WAV audio wav
String sextet (1964) - Completo.wav 17:49 179.9Mb WAV audio wav
Piano quartet (1964) - Completo.wav 14:04 141.9Mb WAV audio wav
Piano quintet (1949) - Completo.wav 18:55 190.9Mb WAV audio wav

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