Paul Creston: Symphony No. 5; Toccatta; Partita

Editorial Reviews
Album Description
The self-taught composer Paul Creston is known for his lush impressionistic style, incorporating innovative rhythmic techniques and harmonies into traditional forms. In the mid-20th century, as the pendulum in American composition swung heavily toward serialism and other modern approaches, Creston’s music fell into neglect, if not disfavor, with that of other American composers who had not embraced non-tonal techniques. In the past two decades, the world seems to have rediscovered the great legacy of American symphonists, and Creston’s star has been on the ascendant once again.

Paul Creston: Symphony No. 5; Toccatta; Partita, Music, Paul Creston, Gerard Schwarz, Scott Goff, Seattle Symphony Orchestra, Ilkka Talvi, Classical, Classical Composers, Classical Music, Concerto, Dance/Single-Movement/Miscellaneous Work for Orchestra, Orchestral, Orchestral & Symphonic, Orchestral Music, Symphonic, Symphony
Paul Creston: Symphony No. 5; Toccatta; Partita
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    		Paul Creston: Symphony No. 5; Toccatta; Partita

    Manufacturer: Naxos American
    ProductGroup: Music
    Binding: Audio CD

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    Similar Items:
    1. Creston: Symphonies 1-3
    2. David Diamond: Symphony No. 1; Violin Concerto No. 2
    3. William Schuman: Symphonies Nos. 4 and 9; Orchestra Song; Circus Overture
    4. Walter Piston: The Incredible Flutist
    5. William Schuman: Symphonies Nos. 7 and 10

    ASIN: B0000C508O
    Release Date: 2003-09-23

    Tracks:

    1. Toccata, Op.68 - Gerard Schwarz
    2. Con Moto - Gerard Schwarz
    3. Largo - Gerard Schwarz
    4. Maestoso - Allegro - Gerard Schwarz
    5. Out Of The Cradle, Op.5 - Gerard Schwarz
    6. Preamble - Ilkka Talvi
    7. Sarabande - Ilkka Talvi
    8. Burlesk - Ilkka Talvi
    9. Air - Ilkka Talvi
    10. Tarantella - Ilkka Talvi
    11. Invocation And Dance, Op.58 - Gerard Schwarz

    Album Description

    The self-taught composer Paul Creston is known for his lush impressionistic style, incorporating innovative rhythmic techniques and harmonies into traditional forms. In the mid-20th century, as the pendulum in American composition swung heavily toward serialism and other modern approaches, Creston's music fell into neglect, if not disfavor, with that of other American composers who had not embraced non-tonal techniques. In the past two decades, the world seems to have rediscovered the great legacy of American symphonists, and Creston's star has been on the ascendant once again.

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