Symphony No.4 - Walter Piston

Seattle Symphony Orchestra conducted by Gerard Schwarz

I - Piacevole: 0:00
II - Ballando: 6:16
III - Contemplativo: 11:29
IV - Energico: 20:11

Piston’s fourth symphony was commissioned in 1950 by the University of Minnesota for its centennial celebration. It premiere on March 30, 1951 by the Minneapolis Symphony Orchestra (now the Minnesota Orchestra), conducted by Antal Doráti. The work is structured in the traditional form of four movements. Just over twenty-four minutes in duration, features flowing melodies, an effective use of large orchestral resources, and careful organization.

It is described by the composer as "melodic and expressive and perhaps nearer than my other works to the solution of the problem of balance between expression and formal design." Despite this rather dry commentary, Piston created in the Fourth Symphony a warm, ingratiating work that is far from a mere intellectual construction. As such, he would have undoubtedly found himself in the spiritual company of Brahms, whose own symphonies amply fit that description.

Marked Piacevole (pleasant), the first movement posits a long, flowing and somewhat rustic main theme presented by the violins. The second theme is played by the clarinet in a subdued chromatic solo. After a brief development the recapitulation presents the topics in a inverted mode, ending with a brief and calm coda. The musical language of the movement, while clearly Piston's own, suggests the influence of both Impressionism and the clean "Americana" sound that was a lingua franca among the composer's contemporaries.

Marked Ballando (dancing) the second movement is a Scherzo-Rondo (A-B-A-C-A-B-A). The main theme is a wild and irregular dance, features a scattering of metric changes (3/4, 7/8, 5/8, and 2/4). The second theme is a lyrical waltz in a 6/8 metre, followed by a vigorous third theme reminiscent of country fiddling. The movement pays homage to both the urban waltz and to unbuttoned country fiddling, appearing as a response to works like Copland’s Rodeo. Perhaps this was Piston’s way of offering regional color in a commission from the Middle West.

The third movement (Contemplativo) opens with an atonal ruminative melody of the clarinet that then passes in the form of variation to the violas and the English horn; Piston loved the clarinet, especially in its low, sensuous range. The flutes and the strings intervene in the development. The contemplative theme, as its title indicates, is driven to its climax by a chorale-like episode in the brass, before the strings take us to the contemplative atmosphere of the beginning.

The final movement (Energico) is cast in a traditional sonata form. The main theme is aggressive, with a rhythmically energized burst reminiscent of the opening of the second movement. The second lyrical cantabile theme is entrusted to the oboe, emerging with a strong contrast to the initial mood. The development section is short, and leads through a return of the second theme in the violins. The work ends with an strong and exuberant ending built on the main theme.

Picture: "Milking Time" (1947) by the American painter Roger Medearis.

Sources: https://www.americansymphony.org/walt..., https://www.allmusic.com/composition/..., https://en.wikipedia.org/wiki/Symphon..., https://www.naxos.com/mainsite/blurbs..., http://www.historiadelasinfonia.es/na...