Walter Piston

Piston was born in Rockland, Maine, at 15 Ocean Street to Walter Hamor Piston, a bookkeeper, and Leona Stover. He was the second of four children. His paternal grandfather was a sailor named Antonio Pistone, who changed his name to Anthony Piston when he came to Maine from Genoa, Italy. In 1905 the composer's father, Walter Piston Sr, moved with his family to Boston, Massachusetts. During the 1910s, Piston made a living playing piano and violin in dance bands and later playing violin in orchestras led by Georges Longy. During World War I, he joined the U.S. Navy as a band musician after rapidly teaching himself to play saxophone; he later stated that, when "it became obvious that everybody had to go into the service, I wanted to go in as a musician". While playing in a service band, he taught himself to play most wind instruments. "They were just lying around," he later observed, "and no one minded if you picked them up and found out what they could do". Piston was admitted to Harvard College in 1920, where he studied counterpoint with Archibald Davison, canon and fugue with Clifford Heilman, advanced harmony with Edward Ballantine, and composition and music history with Edward Burlingame Hill. He often worked as an assistant for various music professors there, and conducted the student orchestra. In 1920, Piston married artist Kathryn Nason (1892–1976), who had been a fellow student at the Normal Art School. The marriage lasted until her death in February 1976, a few months before his own. Piston wrote his Symphony No. 1 and conducted its premiere with the Boston Symphony Orchestra on April 8, 1938. Piston's only dance work, The Incredible Flutist, was written for the Boston Pops Orchestra, which premiered it with Arthur Fiedler conducting on May 30, 1938. The dancers were Hans Weiner and his company. Soon after, Piston arranged a concert suite including "a selection of the best parts of the ballet." This version was premiered by Fritz Reiner and the Pittsburgh Symphony Orchestra on November 22, 1940. Leonard Slatkin and the St. Louis Symphony Orchestra included the suite in a 1991 RCA Victor CD recording that also featured Piston's Three New England Sketches and Symphony No. 6. Piston studied the twelve-tone technique of Arnold Schoenberg and wrote works using aspects of it as early as the Sonata for Flute and Piano (1930) and the First Symphony (1937). His first fully twelve-tone work was the Chromatic Study on the Name of Bach for organ (1940), which nonetheless retains a vague feeling of key. Although he employed twelve-tone elements sporadically throughout his career, these become much more pervasive in the Eighth Symphony (1965) and many of the works following it: the Variations for Cello and Orchestra (1966), Clarinet Concerto (1967), Ricercare for Orchestra, Fantasy for Violin and Orchestra (1970), and Flute Concerto (1971). In 1943, the Alice M. Ditson Fund of Columbia University commissioned Piston's Symphony No. 2, which was premiered by the National Symphony Orchestra on March 5, 1944 and was awarded a prize by the New York Music Critics' Circle. His next symphony, the Third, earned a Pulitzer Prize, as did his Symphony No. 7. His Viola Concerto and String Quartet No. 5 also later received Critics' Circle awards. Piston wrote four books on the technical aspects of music theory which are considered to be classics in their respective fields: Principles of Harmonic Analysis, Counterpoint, Orchestration, and Harmony. The last of these introduced for the first time in theoretical literature several important new concepts that Piston had developed in his approach to music theory, notably the concept of harmonic rhythm, and the secondary dominant. This work went through four editions in the author's lifetime, was translated into several languages, and (with changes and additions by Mark DeVoto) was still regarded as recently as 2009 as a standard harmony text. He died at his home in Belmont, Massachusetts, on November 12, 1976. ==Works==