Walter Piston (1894-1976)

2019 ◽  
pp. 67-75
Author(s):  
Neil Butterworth
Keyword(s):  
Author(s):  
Brenda Ravenscroft

Born in 1908 into a wealthy New York City family, Elliott Carter enjoyed a cosmopolitan childhood, spending time in Europe and learning French at an early age. The composer Charles Ives mentored the young Carter, taking him to concerts in New York and encouraging his developing interest in music. Carter’s childhood, characterized by immersion in a culturally enriched environment and exposure to the modern world, provided the elements from which his artistic aesthetic and musical language would later be forged. When Carter entered Harvard College, he focused his studies on English literature, Greek, and philosophy, although musical activities continued in the form of lessons with Walter Piston and Gustav Holst, as well as singing with the Harvard Glee Club. Carter completed a master’s degree in music at Harvard in 1932, after which he moved to Paris to study composition with Nadia Boulanger for three years. He received a doctorate in music from the École Normale de Musique in Paris in 1935.


Tempo ◽  
1977 ◽  
pp. 23-24
Author(s):  
Paul Rapoport

Walter Piston, the American composer and teacher, died aged 82 on 12 November 1976. As a young amateur he learned to play nearly all the instruments, but he did not begin academic study of music until he was 25 He graduated from Harvard University with highest honours in 1924, studied for two years in France with Nadia Boulanger, and returned to teach at Harvard for over three decades, retiring in 1960. Among his pupils were Leonard Bernstein and Elliott Carter. His three main text books (Harmony, Counterpoint and Orchestration) have been, widely used for many years.


1993 ◽  
Vol 134 (1804) ◽  
pp. 340
Author(s):  
David Wright ◽  
Howard Pollack
Keyword(s):  

Tempo ◽  
2007 ◽  
Vol 61 (240) ◽  
pp. 20-27
Author(s):  
Stephanus Muller

South African composer Stefans Grové celebrates his eighty-fifth birthday this year. Grové studied under Erik Chisholm in Cape Town, took his Master's at Harvard under Walter Piston and attended Aaron Copland's composition class at the Tanglewood Summer School. He taught for over a decade at the Peabody Institute in Baltimore before returning to South Africa in 1972. He is Composer in Residence at the University of Pretoria.


Author(s):  
David Schiff

After his return from Paris, Carter embarked on a composing career, writing a variety of pieces, most of which he soon discarded. Carter’s remaining early works (“pre-Carter”) reflect the opposed influences of Walter Piston (objectivity, craftsmanship) and the poet Hart Crane (experimentation, rebellion). These contravening tendencies appear in the short choral works of the period, most of them written for college choruses, and more ambitious works like the score for the ballet, Pocahontas, and the Symphony no. 1. Balancing craft and expression proved difficult and Carter was often dismayed to find that works which he had intended to be accessible to performers or audiences were deemed too difficult. The Piano Sonata, completed in 1946, finally showed that Carter could bring together the demands of formal clarity and emotional intensity in a personal way and on a large scale.


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