The music critic Andrew Farach-Colton of
Gramophone wrote, "Piston's Concerto (1957) opens pensively, quickly builds to an aching climax (beginning around 4'00") with the first movement ending almost abruptly on a note of resignation. The central
Adagio con fantasia is the work's emotional core, beginning in abject loneliness (sparely scored with wistful harmonies) but finds, in the final pages, a sweeter lyricism that prepares the listener perfectly for the playful syncopations of the exuberant finale."
Anthony Tommasini of
The New York Times similarly observed: ==References==