A Stylistic Analysis of Paul C

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A STYLISTIC ANALYSIS OF PAUL CR E S T O N 'S
FANTASY FOR PIANO AND ORCHESTRA,
OPUS 32, AND CONCERTO FOR PIANO
A ND ORCHESTRA, OPUS 4 3
A D I S S E R T A T I O N IN
Music
P r e s e n t e d to the F a c u l t y of the U n i v e r s i t y
of Missouri at Kansas C i t y in partial fulfil l m e n t of
the r e q u i r e m e n t s for the degree
D O C T O R OF MUSICAL ARTS
by
PAUL E. HIGDON
B.A. T r u m a n S t ate University, 1988

M.A. T r u m a n S t ate University, 1990
K ansas City, Missouri

1 998
UMI Number: 9912978
Copyright 1998 by
Higdon, Paul Edward
All rights reserved.
UMI Microform 9912978

Copyright 1999, by UMI Company. All rights reserved.
This microform edition is protected against unauthorized

copying under Title 17, United States Code.
UMI
300 North Zeeb Road
Ann Arbor, MI 48103
@ 1998
PAUL E. HIGDON
AL L R I G H T S RESERVED
A STYLISTIC ANALYSIS OF PAUL CRESTON'S
FANTASY FOR PIANO AND ORCHESTRA,
OPUS 32, A N D C O N C E R T O FO R PIANO
AND O R C H E S T R A , OPUS 43
Paul E. Higdon, Doctor of Musical Arts
U n i v e r s i t y o f M i s s o u r i - K a n s a s City, 1998
ABSTRACT
The p l i g h t of the m o d e r n piano concerto is not a h a p p y
one; often concertos a r e p e r f o r m e d a few times only to be
relega t e d to obscurity. Paul C r e s t o n ' s Fantasy for P i ano
and O r c h e s t r a , Op. 32 (1943) and C o n c e r t o for Piano and
O r c h e s t r a , Op. 43 (1949), at one time p erformed by pianists
G a r r i c k Ohlsson, Eug e n e List and Earl Wild, h a v e gen e r a l ly
suffered this fate.
Creston (1906-1985) was a s i g n i f i c a n t A m e r i c a n c o m p o s e r
whose vast c o m p o s i t i o n a l out p u t (famed for including works
for the "neglected" instruments) has b e e n c h a m pioned a r o u n d
the world by s u c h co n d u c t o r s as A r t u r o Toscanini, Eugene
Ormandy, Pi e r r e Monteux, and others. Creston's o r c h e s t r al
works, which e n j o y e d t r e m e n d o u s success in the 1940s and
ii
19 50s, are c u r r e n t l y be i n g r e c o r d e d by n o t e d conductors
s u c h as G e r a r d Schwartz a n d N e e m e Jarvi.
The p i a n o concerto is a complex, yet a c c e s s i b l e
t h r e e - m o v e m e n t work imbued w i t h C r eston's p a n tonal h a r m o n i c
v o c a b u l a r y and unique r h y t h m i c structures. Sadly, this
w o r k has bee n u n p e r f o r m e d since the 1960s. The smaller
F a n t a s y contains similar features. It was p e r f o r m e d
f r e q u e n t l y in the 1940s but als o has s u f fered neglect in
r e c e n t years.
The p u r p o s e of this st u d y is: (1) to p r o v i d e h i s t o r i c a l
b a c k g r o u n d to Creston's piano c o n c e r t o and F a n t a s y u t i l i z i n g
suc h primary sources as programs, reviews, scrapbooks,
a n d correspondence; and (2) to p r o v i d e a s t y l i s t i c a n a l y s i s
of the two wo r k s from h o l o g r a p h i c scores. Research data
was o b t ained f rom original m a n u s cripts, Creston's
c o r r e s p o n d e n c e with the p e r f o r m e r s a n d c o n d u c t o r s of the
works, recordings, and o t h e r d o c u m e n t s in the Cre s t o n
C o l l e c t i o n at the Miller Nic h o l s M u s i c / M e d i a Library at
the Un i v e r s i t y of Missouri at K a n s a s City.
This a b s t r a c t of 254 words is approved as to form a n d
content.
G. o a sy*-
Shirley A. Bean, D.M.A.
A s sociate Professor, C o n s e r v a t o r y of M u s i c
iii
The undersigned, a p p o i n t e d by the Dean of the
C o n s e r v a t o r y of Music, h a v e e x a m i n e d a d i s s e r t a t i o n titled
"A S t y l i s t i c A n a l y s i s o f Paul Cres t o n ' s Fantasy for Piano
a n d O r c h e s t r a , Opus 32, an d C o n c e r t o for Piano a n d
O r c h e s t r a , O p u s 43," p r e s e n t e d by Paul E. Higdon, c a n d i date
for the D o c t o r of M u s i c a l Arts, and her e b y c e r t i f y in t h eir
o p i n i o n it is wor t h y o f acceptance.
S L P . . , fl.
S h i r l e y At Bean, D . M . A
C o n s e r v a t o r y of Music
Baker, M.M. Date

a t ory of Music
R i c h a r d Cass, B.A. Date

C o n s e r v a t o r y of Music
John/Mc] Date
C onqe r v 4 t o r y of Mus'ic
'flcnS- JO. ,n?r

da Ross-Happy, D .M .^J.(/ A Date
C o n ss eo r^ vv aa t
fonr
ryv r>*F Mucin
of Music t/
IV
T A B L E OF CONTENTS
A B S T R A C T ......................................................... ii
L IST OF MUSICAL E X A M P L E S ................................... vii
LIST OF T A B L E S ................................................ xiv
A C K N O W L E D G E M E N T S ................................................xv
I N T R O D U C T I O N ..................................................... 1
Chapter
1. BIOGRAPHICAL SKETCH ...................................... 10
2. HISTORICAL B A C K G R O U N D O F THE F A N T A S Y FOR PIANO AND

ORCHESTRA A N D THE C O N C E R T O FOR P I A N O AND O R C H E S T R A
The Fantasy for P i a n o and O r c h e s t r a ................... 26
The Concerto for P i a n o and O r c h e s t r a ................. 29
3. A STYLISTIC ANALYSIS O F THE F A N T A S Y FOR PIANO AND

O R C H E S T R A , O P U S 3 2 ........................................38
S u m m a r y ................................................... 98
4. A STYLISTIC ANALYSIS O F THE C O N C E R T O FOR PIANO AND

O R C H E S T R A , O P U S 4 3 .........................................101
Movement O n e ............................................ 102
Movement T w o ............................................ 145
Movement T h r e e ........................................ 175
S u m m a r y ................................................. 221
5. SUMMARY SUGGESTIONS F O R FURTHER R E S E A R C H ............. 228
Appendix
A. THE FIVE R H Y T H M I C S T R U C T U R E S ............................235
B. SELECTED D I S C O G R A P H Y .................................... 240
C. PAUL CRESTON'S C R E E D ..................................... 243
D. LETTERS OF P E R M I S S I O N ..................................... 246
E N D N O T E S ........................................................ 249
SELECTED B I B L I O G R A P H Y .......................................... 260
V I T A ............................................................. 262
vi
LIST OF M U S I C A L E X A M P L E S
Example Page
1. F a n t a s y , m e a s u r e s 1-8 (beat o n e ) ..................... 40
2. F a n t a s y , m e a s u r e s 8 - 1 0 ................................. 42
3. F a n t a s y , m e a s u r e s 11-14 43
10. F a n t a s y , m e a s u r e s 62-66 ............................. 52
15. F a n t a s y , m e a s u r e s 100-106 .......................... 58
vii
21. F a n t a s y , m e a s u r e s 148-159 ........................... 65
23. F a n t a s y , measu r e s 171-172 ........................... 69
28. F a n t a s y , measu r e s 220-331 76
30. F a n t a s y , measu r e s 244-255 .......................... 79
31. Fantasy, measures 260-268 .......................... 80
31. Fantasy, measu r e s 274-277 .......................... 81
38. Fantasy, measures 333-339 (beat one) ............ 89
45. Piano concerto, mvt. I, m e a s u r e s 1 - 1 2 ..............104
viii
46. Piano concerto, m v t . I, measu r e s 1 6 - 2 2 ........... 105
47. Piano concerto, m v t . I, measu r e s 23-32 .......... 107
48. Piano concerto, mvt. I, measu r e s 35-39 .......... 108
49. Piano concerto, mvt. I, measures 40-49 1 10
50. Piano concerto, m v t . I, measures 53-60 1 11
51 . Piano concerto, m v t . I, measures 68-74 1 12
52. Piano concerto, m v t . I, measures 82-85 1 14
53. Piano concerto, mvt. I, measures 87-95 1 15
54. Piano concerto, m v t . I, measures 101-107 . . . . 116
56. Piano concerto, mvt. I, measures 123-132 . . . . 119
61 . Piano concerto, m v t . I, measures 173-176 . . . . 125
62. Piano c o n c e r t o , m v t . I, measures 187-191 . . . . 126
65. Piano c o n c e r t o , m v t . I, measures 228-231 . . . . 130
69. Piano concerto, mvt. I, measures 260-262,

270-273, 277-279 I 134
ix
70. P i ano concerto, m v t . I , measures 283-285 . . . .136
71 . P i ano concerto, m v t . I , measures 287-291 . . .. 1 3 7
72. Piano concerto, m v t . I , measures 294-301 . . .. 1 3 8
73. P i ano concerto, m v t . I , m easures 301-306 . . .. 1 3 9
74. P i ano concerto, m v t . I , m easures 309-314 . . .. 1 4 1
75. Pi ano concerto, m v t . I , measures 317-322 . . .. 1 4 2
76. Piano concerto, m v t . I , measures 325-332 . . .. 144
77. Piano concerto, mvt. II measures 1 - 1 0 ....... 146
78. Piano concerto, mvt. II measures 12-15 .......... 147
79. Piano concerto, m v t . II m easures 16-19 .......... 148
80. Piano concerto, mvt. II m easures 25-29 .......... 149
81 . P i ano concerto, mvt. II measures 36-40 .......... 150
84. Piano concerto, m v t . II measures 58-60 .......... 154
85. Piano concerto, mvt. II measures 64-66 ......... 154
88. Piano concerto, m v t . II measures 88-9 5 ......... 158
89. Piano concerto, mvt. II, m easures 9 7-100 . . . . 159
90. Piano concerto, mvt. II, m easures 105-109 . . . . 160
91 . Piano concerto, mvt. II, measures 113-117 . . . . 161
92. Piano concerto, m v t . II, measures 119-124 . . . . 163
93. P iano concerto, mvt. II, measures 125-127 . . . .164
94. P iano concerto, mvt. II, m easu r e s 132-136 . . . . 165
95. Piano c o ncerto, mvt. II, m e a s u r e s 1 37-142 . . . . 166
96. P iano c o ncerto, mvt. II, m e a s u r e s 1 4 5-148 . . . .167
97. P iano c o ncerto, mvt. II, m e a s u r e s 1 50 -1 56 . . . . 168
98. P iano concerto, mvt. II, m e a s u r e s 159-161 . . . . 169
99. P iano concerto, mvt. II, m e a s u r e s 1 6 3-165 . . . . 170
1 0 0 . Piano con c e r t o , mvt. II, meas u r e s 174-183 . . . 171
101 ., P i ano con c e r t o , mvt. II, meas u r e s 184-188 . . . 172
1 0 2 . Piano con c e r t o , mvt. II, measu r e s 190-195 . . . 174
1 03. Piano con c e r t o , mvt. III, measures 1 - 5 ........... 176
1 04. P iano c oncerto, mvt. III, measures 6-15 . . . . 177
1 05. P iano c oncerto, mvt. III, measures 2 1 -30 . . . . 179
1 06. Piano conc e r t o , mvt. III, measures 32-40 . . . . 180
1 07. Piano c o ncerto, mvt. III, measures 4 1 -45 . . . . 181
1 08. P i ano c o ncerto, mvt. III, measures 52-59 . . . . 182
109. P iano c o ncerto, mvt. III, measures 62-66 . . . . 183
110. P iano c oncerto, mvt. III, measures 75-78 . . . . 184
111. Piano concerto, mvt. III, measures 90-94 . . . . 185
112. Piano concerto, mvt. III, measures 98-102 . . . 185
114. Piano c o ncerto, mvt. III, measures 109-112 . . . 188
115. Piano concerto, mvt. III, measu r e s 121-133 . . . 189
116. Piano c o ncerto, mvt. III, measures 137-141 . . . 190
117. Piano c o ncerto, mvt. III, measu r e s 144-153 . . . 191
119. P iano concerto, mvt. III, m e a s u r e s 169-175 . . . 193
XI
120. Piano concerto, mvt. Ill, measures 180-192 • - • 194
121 . Piano concerto, mvt. III, measures 199-203 • • - 1 95
1 22. Piano concerto, mvt. III, measures 228-232 - • - 196
123. Piano concerto, mvt. III, measures 242-246 * - • 1 97
124. Piano c o n c e r t o , mvt. III, measures 265-269 • • • 1 98
1 25. P i ano concerto, mvt. III, measures 270-279 • • - 1 99
1 26. Piano concerto, mvt. III, measures 292-295 • - - 200
1 27. Piano concerto, mvt. III, measures 301-310 • - • 201
128. Piano concerto, mvt. III, measures 322-329 - - - 202
1 29. Piano concerto, mvt. III, measures 335-339 • • • 203
1 30. Piano concerto, mvt. III, measures 346-354 - - • 204
1 31 . Piano concerto, mvt. III, measures 364-368 • • - 206
1 32. Piano concerto, mvt. III, measures 376-378 - * • 207
1 33. Piano concerto, mvt. III, measures 385-387,

395-399 . . . 208
1 34. Piano concerto, mvt. III, measures 418-422 • • • 209
1 35. Piano concerto, mvt. III, measures 428-432 • • 21 0
1 36. Piano concerto, mvt. III, measures 437-440 - * * 21 1
1 37. Piano concerto, mvt. III, measures 451-455 • - • 21 1
1 38. Piano concerto, mvt. III, measures 459-463 • • • 21 2
1 39. Piano concerto, m v t . III, measures 467-475 • • - 21 3
1 40. Piano concerto, mvt. III, measures 479-482 - - • 21 4
1 41 . Piano concerto, mvt. III, measures 485-494 - - * 21 5
1 42. Piano concerto, mvt. III, measures 495-499 • • • 21 6
1 43. Piano concerto, mvt. III, measures 502-510 . . 21 7
xii
1 44. Piano concerto, mvt. Ill, m e a s u r e s 517-526 . . 21 8
145. Piano concerto, mvt. Ill, m e a s u r e s 528-540 . . 220
xiii
LIST O F TABLES
Table Page
1. Stru c t u r e of F a n t a s y , Op..... 3 2 ....................... 100
2. S t r u c t u r e of C o n c e r t o for Piano and O r c h e s t r a ,

Op. 43, mvt. I ........................................... 225

Op. 43, mvt. I I .........................................226

Op. 43, mvt. I l l .........................................227
xi v
ACKNOWLEDGMENTS
I w o u l d like to exp r e s s m y g r a t i t u d e toward my
committee members: P r o f e s s o r S h i r l e y Bean, Curators'
Professor J o a n n e Baker, P r o f e s s o r Ric h a r d Cass, Professor
Linda R o s s - H a p p y and P r o f e s s o r J o h n McIntyre. Their support
of this p r o j e c t and e n l i g h t e n i n g c o m m e n t a r y hav e done m uch
to improve the end product.
Foremost, I m u s t g i v e a h e a r t f e l t thanks to
Dr. Shirley B e a n for h e r i n d e f a t i g a b l e e fforts to offer
indisputable, excellent advice in this project. On one
occasion, u p o n seeing s o m e of h e r d e t a i l e d and thorough
commentary, my m o t h e r ' s jaw a c t u a l l y d r o p p e d to the floor
(for only the second t i m e in h e r life--the first being
whe n I said I wanted to p u rsue m u s i c as a career).
I also wan t to c r e d i t the foll o w i n g colleagues who
mad e a difference: M e l i n d a S m a s h e y for her support, Stephan
C asurella a n d his w o n d e r f u l A p p e n d i x A musical examples
a nd Michael O n g with his timely copy machine. I owe them
all a dinner.
Finally, I must m e n t i o n t h e support of my loving
parents w h o have e n c o u r a g e d me all of the way and my piano
teacher a n d m e n t o r in t h e 1990s, J o a n n e Baker.
xv
INTRODUCTION
Paul C r e s t o n (1906-1985) is a composer o f s i g n i f i c a n t
stature in 20th C e ntury A m e r i c a n music. His o u t p u t consists
of o ve r 150 w o rks ranging from solo a n d c h amber m u s i c to
symphonies a n d l a rge-scale choral compositions. His band
compositions a n d works for the "neglected" instruments,
such as the s a x o p h o n e and marimba, remain f i r m l y in today's
repertoire.
Creston a s c e n d e d to fame in the late 1930s an d was
prominent on the A m e r i c a n music s c ene for the next two
decades. At this time, ac c e s s i b l e styles, s u c h as the
"Americana" m o v e m e n t and post-Romanticism, t h r i v e d alo n g s ide
e mergi n g a v a n t - g a r d e styles. Walter Simmons, noted Creston
scholar, explains how the musical w o r l d began to ch a n g e
in the 1950s:
. . . as the academic a v a n t - g a r d e seized c o n t r o l of

so many o u t l e t s for m o d e r n music, Creston, a l o n g with
many of his contemporaries, b e g a n to be i g n o r e d by
the large p e r f orming organizations. Yet he c o n t i n u e d
working vigorously, following his own c o n v ictions.
During the 1960s and '70s his m u s i c r e t a i n e d a
following a m ong the m a n y bands, choruses, and
orchestras in high schools and colleges a r o u n d the
country— an entire sub-cu l t u r e that has b e c o m e the
most fertile p r o v i n g - g r o u n d for n e w m u sic in this
country.
Creston was a c o n s e r v a t i v e c o m p o s e r whose r o ots were
firmly grounded in the past. He was fond of a d m i t t i n g
2
that, except for some refinement, his style had no t changed
"one bit" from the Five D a n c e s for P i a n o , Op. 1 (1932),
a remarkable a d m i s s i o n in l i g h t of the fact he c o m p o s e d

2
for over fifty years!
Creston h a d no formal training in theory or c o m p o s i t i o n
and cited Ramea u ' s "in v i s i b l e guide of the m u sician" as
the means by w h i c h he a c q u i r e d his m u s i c a l knowledge."^
He proclaimed his "teachers" were Bach, Scarlatti, Chopin,
Debussy, and R a v e l — comp o s e r s of scores he studied as a
young man. The a b sence of a Stravinsky or C o p l a n d from
this list a f firms C reston's preference for a c o n s e r v a t i v e
style. The c o n t e m p o r a r y c o m p o s e r he m o s t admired was
the British composer, W i l l i a m Walton ( 1902— 1983)
Creston w r o t e two w o rks for solo piano and orchestra.
The Fantasy for P i a n o and O r c h e s t r a , Op. 32, is a small,
single-movement w o r k w r i t t e n in 1943; the Concerto for
Piano and O r c h e s t r a , Op. 43, is a larger, three-movement
composition c o m p l e t e d in 1949. Both pieces adhere to
Creston's "simple, direct a n d understandable" st y l e . ®
In his u n p u b l i s h e d monograph, "Creative H a r m o n y , "
Creston stated "the co m p o s e r ' s objective is not n e c e s s a r i l y
to discover new an d u n heard of sounds bu t to e x p l o r e new
uses and new c o n t e x t s of p r e - d i s c o v e r e d or i n t r i n sically
existent comb i n a t i o n s [of sounds]."® T h a t is the premise
of Creston's music.
3
His h a r monic style g e n e r a l l y e m b r a c e s pantonality.
He d e f i n e d this as a "free use of all keys r a t h e r than
w i t hou t ever e s t a b l i s h i n g a n y p a r t i c u l a r k e y . " 7 In
"Creative H armony," C r e s t o n dev o t e s m u c h of the e x e g e s i s
to the correct spacing, d oubling, and other terminology
as s o c i a t e d with e x t e n d e d t e r t i a n harmony. The F a n t a s y
and the piano c o n c e r t o use a s e e m i n g l y infinite v a r i e t y
of pantonal chords.
A v a n t - g a r d e t e c h n i q u e s are used o n l y rarely in
Creston's output and not a t all in the F antasy o r the piano
concerto. It is r e v e a l i n g that only a small f r a c t i o n of
his book, " C reative H a r m o n y , " is d e v o t e d to atonality,
a syst e m he c o m p a r e s u n f a v o r a b l y w ith his more p r e f e r r e d
style:
Tonal or p a n tonal m u s i c is c h a m e l e o n in c o l o r range,

atonal m u s i c often g i v e s the i m p r e s s i o n of a mon o t o nous
g ray or b l a c k . . .
Perhaps the g r e a t e s t f a l l a c y in t his matt e r is the

apotheosis of [atonality] as an a e s t h e t i c p r i n c i p l e
instead of m e r e l y a d e v i c e , of composition.
As for other m o r e e x p e r i m e n t a l styles, C r e s t o n h e l d the
view that "regrettably, the cerebral a n d e l e c t r o n i c
composers of today, by u n d u l y s t r e s s i n g the scientific,
have c reated an imba l a n c e . . . music w h i c h must be

Q
e v alua t e d by c r i t e r i a of s c i e n c e r a t h e r than art."
C reston's a p p r o a c h to m e l o d y m i g h t be v i ewed as
"lyrical v a riation." In " C r e a t i v e H a r m o n y , " he s u g gests
"in e v e r y r e p e t i t i o n [of me l o d y ] there s h o u l d be an
element of v a r i a t i o n an d in e v ery v a r i a t i o n there must
be an e l e m e n t of r e p e t i t i o n . " 1*1 The t e c h n i q u e s he c i t e d
to vary the m e l o d y — interval alterations, diminution, and
augmen t a t i o n to n a m e a fe w — are all used e x t e n s i v e l y in
the F a n t a s y an d the p i a n o concerto.
A common melodic feature of C r e s t o n ' s music is the
use of t a n g e n t i a l v a r i a t i o n — b e ginning a theme as it was
o r i gi n a l l y st a t e d bu t ending it diff e r e n t l y . This was
often the r e s o u r c e f u l means he u t i l i z e d to create v a r i e t y
while m a i n t a i n i n g c o n t r o l of thematic content. Such an
economical a p p r o a c h to melodic m a terials suppo r t s what
Creston w r o t e in his creed: "the i n t e g r a t i o n of musical

11
elements tow a r d a u n i f i e d whole."
The r h y t h m i c e l e m e n t is probably the m o s t distinct
aspect of C r e s t o n ' s style. In all of his works, i n cluding
the Fa n t a s y and the p i a n o concerto, r h y t h m i c ideas
consis t e n t l y play a ce n t r a l role. In fact, Creston c l a i m e d
that m u s i c a l ideas came to him first r hythmically, only

12
later to be r e a l i z e d m e l o d i c a l l y and h a r m o n ically. H e nry
Cowell (1897-1965) r e m a r k e d about the i m p o r t a n c e of r h y t h m
in Creston's music: " . . . now the t r ouble w i t h a flowing
style is that one runs the danger of monotony. Creston's
rhythmic devices, however, provide a g r e a t deal of v a r i e t y
in the c o n t i n u i t y of the m u s i c . " 1’*
One of C r e s t o n ' s g r e a t achievements was isolating

14
and codi f y i n g five d i s t i n c t rhythmic "st r u c t u r e s . "
5
In his two books on rhythm, Principles of R h y t h m (1964)
and Rational Metric N o t a t i o n (1978), he cites m a n y examples
of the r h y t h m i c s t r u c t u r e s both in works by c o n t e m p o r a r y
composers a n d those of the C lassical and R o m a n t i c eras
including Mozart, C h o p i n and Wagner. These structures
are also featured p r o m i n e n t l y in his own compositions,
including the F a n t a s y and the piano concerto, where unique
combinations of s h i f t i n g accents and rhythms a r e frequently
divided a m o n g d i f f e r e n t instruments or diff e r e n t
instrumental families. The result creates d i s t i n c t rhythmic
character in his music.
Cres t o n ' s u t i l i z a t i o n of form resembles his approach
to tonality: rooted in the past, but rather free l y applied
to suit his a r t i s t i c aims. The first movement of the piano
concerto r o u g h l y a d h e r e s to sonata-allegro principles and
the finale is a rondo. In the F a n t a s y , the e l i d e d
"movements" m a y be v i e w e d as being part of a s o n a t a - a l l e gro
design. F o rmal s t r u c t u r e in Creston's music is often o p e n
to debate because, as H e n r y Cowell attests, "it is obvious
that the m u s i c a l f o r m is not primarily d ependent upon the
organi z a t i o n of key r e l a t i o n s h i p s d i s c o verable through
[traditional] a n a l y s i s . " 1^
Cre s t o n was a s u p e r b o r c h e s t r a t o r whose imaginative
orchestral skill is r e f l e c t e d in b oth the F a n t a s y and the
piano concerto. V i r g i l Thomson, not always a fan of
Creston's music, s aid his i n s t rumentation was "sonorous,
6
w e l l - c a l c u l a t e d a n d a p p r o p r i a t e . " 1 *’ In a n o t h e r r e v i e w
he c a l l e d it " s u r e h a n d e d . " 1^ C r eston a s s i d u o u s l y s t u d i ed
Rimsky-Korsakov's Pri n c i p l e s of O r c h e s t r a t i o n to lay the
fo u n d a t i o n for his knowledge. He c l a i m e d he could see
an in s t rumental line on p a p e r and h e a r just how it w o u l d

18
s o u n d in his head.
Today, C r e s t o n ' s compositions e n j o y u n e v e n success.
In the saxophone a n d band repertoire, for example, his
w o rks conti n u e to be popular. In m o r e t r a d i t i o n a l genres,
however, his m u s i c is less f r e q uently performed. T h e heavy
inf u s i o n of liv i n g A m e r i c a n composers v y i n g for a few
p recio u s spots on concert programs s e ems to leave lit t l e
r o o m for the " n e a r - c o nt e m p o r a r y " works. Moreover, with
p i ano conc e r t o r e p e r t o i r e basi c a l l y u n c h a n g e d since W o r l d
War II, the task of introd u c i n g s o m e t h i n g "new" in this
field c o uld only be d e s c r i b e d as daunting.
The cha l l e n g e in progra m m i n g C r e s t o n ' s m u sic is
complex. Some of his pieces, incl u d i n g the piano concerto,
ac q u i r e d negative reviews, e s p e cially in N e w York City.
T h i s does little to e n c o u r a g e repeat per f o r m a n c e s . Would
an o r c h e s t r a today be w i l l i n g to c o n s i d e r p e r f o r m i n g a
piece that r e c e i v e d negative press a n d has not been h e a r d
in c o n c e r t halls in many decades?
One view of w h y Cres t o n ' s music "fell out of favor"
on the national s c e n e comes from H a r o l d Schoenberg, music
c rit i c for The N e w Y o r k T i m e s . He w r o t e at length, in
7
1977, a b o u t c o m p o s e r s wh o were st r u g g l i n g to obtain
performances. He p r o p o s e d that the p r o b l e m rests s q u a r e l y
with the composer:
So m u c h m u s i c is b e i n g composed. So little of it
has a chance of b e i n g p e r f o r m e d . . . H e r e is P a u l
Creston, w i t h a b o u t fifty l a r g e - s c a l e works to s e r v e
as a r e m i n d e r that his li v e l y music has been g r e a t l y
n e g l e c t e d of late.
F o r every C o p l a n d there are fifty c o m p o s e r s w i t h names

like J o h a n n e s Driessler, Isa Krejci or B j orn
S c h i l d k n e c h t . P e r h a p s they are s i g n i f i c a n t composers,
bu t so m e h o w one doubts it.
For, c o n t r a r y to po p u l a r belief, g e n i u s e s and g r e a t

in n o v a t o r s do not languish u n a c k n o w l e d g e d in garrets.
Th e world of m u s ic knows a l m o s t i m m e d i a t e l y when a
m a j o r talent arrives. This does not m e a n acceptance.
O f t e n a m a j o r tale n t has to fight his way, ag a i n s t
the public as well as a g a i n s t many of his fellow
composers. But w h e n s o m e b o d y important comes along,
his p r e s e n c e is k n o w n in the circles that count.
A n d he is w r i t t e n about: ad m i r i n g l y in some quarters,
s c o r n f u l l y in others. But his name a n d what he stands
for bec o m e known.
T h e r e always has b e e n a large body of composers f e e ding

the p r i n t i n g - p r e s s e s . . . no age has a m o n o p o l y on
mediocrity.
An o p p o s i n g v i e w is e x p r e s s e d in an e s s a y by S i m m o n s
who sees the a b s e n c e of composers like C r e s t o n in the m o de r n
concert hall as b e i n g unre l a t e d to the q u a l i t y of t h eir
music. He tenders a type of "conspiracy theory":
[There are a] large number wh o still w r i t e s y m p honies

an d concertos, o p e r a s and oratorios; no t m i s t a k a b l e
for a n y o t h e r era, yet u t i l i z i n g an i d i o m which
sugge s t s a c o n t i n u i t y with the music of the past,
just as all c o m m u n i c a t i v e w o r k s of art m u s t use a
langu a g e w h i c h sha r e s to some extent a v o c a b u l a r y
c o m p r e h e n s i b l e to its audience.
T h e r e are d o z e n s of composers today in A m e r i c a a l o n e

(and dozens e l s e w h e r e as well) who are c o m p o s i n g works
8
of the highest q u a l i t y in a m u l t i t u d e of diff e r e n t
styles, re f l e c t i n g a v a r i e t y of individual app r o a c h es
and personalities, yet w h i c h have the capacity to
reach and move de e p l y t h ose m u sicians and music lovers
who take the t r ouble to find them. T h i s is the music
w h ich has the q u alities of aural coherence, e m otional
involvement, a n d perso n a l i n d i v i d u a l i t y that so m a n y
find lacking in the c o n t e m p o r a r y m u s i c they have just
heard. There are, for example: Paul C r e s t o n . . .
Nicolas Flagello . . . P e t e r Mennin . . . Vincent
Persichetti . . .
Then why is it so d i f f i c u l t for p e r f ormers and

listeners to a c q u a i n t themselves w i t h this music?
B e cause the vehicles for the d i s s e m i n a t i o n of music,
and ideas and o p i n i o n s o n music, such as pe r f o r m i n g
ensembles, p h i l a n t h r o p i c foundations, recordings,
magazines, and newspapers, have fallen into the hands
of those who hold, or ar e influenced by those
academicians wh o hold th e belief that c o n t e m p o r a r y
music, in order to j u s t i f y itself as a fine art of
today, must s e v e r any a u r a l co n n e c t i o n with b o t h - t h e
values and v o c a b u l a r y of the music of the past.
Recently, there is r e a s o n to believe that Creston's
music is enjoying a revival. Th e second, third, and fifth
symphonies, in a d d i t i o n to o t h e r orchestral works, have
been recor d e d and r e l e a s e d o n m a j o r labels. The c u r r e n t
p r e vai l i n g "taste" in the c o n c e r t hall seems to favor
Cresto n ' s more conse r v a t i v e s t yle as e x p l a i n e d by G e r a r d
Schwartz in 1992:
Orchestras e n j o y p laying Creston's m u s i c — once they

come to terms w i t h some of the rhyth m i c difficulties,
they find the results q u i t e gratifying. For the
audiences, they are i n v a r i a b l y amazed at how wond e r ful
the music is— it has g r e a t variety, imagination,
harmonic and me l o d i c invention, and of course,
tremendous rhyth m i c ideas. Further, they're a m a z e d
that they don't hear m o r e of it, that it's not part
of the standard r e p e r t o r y Ameri c a n orchestras
. . . the public loves it.
9
C h a p t e r One p r e s e n t s a biographical s k e t c h of Creston.
Chapter Two int r o d u c e s hi s t o r i c a l b a c k g r o u n d information,
including reviews of b o t h the Fantasy and th e piano
concerto. The f o r m e r is s t y l i s tically a n a l y z e d in C h a p t e r
Three; the latter in C h a p t e r Four. C h apter Five presents
a c o n c l u s i o n and s u g g e s t i o n s for additional research.
The a p p e n d i c e s include: a b r ief e xplanation of Cres t o n ' s
rhythmic structures, a copy of Creston's "A C o m p oser's
C r e e d , ” and a c u r r e n t discography.
In the a n a l y s i s chapters, musical e l e m e n t s such as
thematic m anipulation, h a r m o n i c language, rhyth m i c
structures, form, an d i n s t r u m e n t a t i o n are d i s c u s s e d in
great detail. The skill by w h ich the " u n i f i e d whole" is
attain e d will be o f f e r e d for inspection. Th e author would
be del i g h t e d if this p a per served as impetus for a
reappraisal of C r e s t o n ' s music.
CHAPTER 1
BIOGRAPHICAL SKETCH
Paul C r e s t o n w a s born in N e w Y o r k C i t y on 10 O c t o b e r
1906 to G a s p a r e G u t t o v e r g i and C a r m e l a Collura, both Italian
immigrants. His b i r t h name w a s G u i s e p p e Guttovergi, w h i ch
he later ch a n g e d to Paul C r e s t o n in the 1920s.^ Creston's
father was a housepainter, his mother a homemaker. Although
they wer e not rich, "There was alwa y s food on the ta b l e

2
and the r e n t was a l w a y s paid."
Fro m ea r l y childhood, m u s i c had been a part of
Creston's env i r o n m e n t . When he was four, Gaspare often
played g u i t a r and s a n g Italian folk songs to him. In 1912,
Creston v i s i t e d I t a l y with his m o t h e r and brother, where
he rec a l l e d h e a r i n g his uncle p l a y the clarinet. Creston
also r e m e m b e r e d a n o t h e r uncle, an i n v e t e r a t e opera fan,
who often played o p e r a r e c o r d i n g s on the gra m o p h o n e . ^
C r e s t o n began f o rmal piano lessons foll o w i n g the
purchase of a piano for ten d o l l a r s in 1914. He r e c a l l e d
the lessons given by his first teacher:
The first six ye a r s of p i a n o i n s t r u c t i o n were

d e f i n i t e l y of m e d i o c r e quality. My first piano tea cher
was o n e of t h o s e rare i n d i v i d u a l s who taught all
instru m e n t s but p l a y e d n o n e .^
10
11
C r eston actu a l l y c o n t e m p l a t e d b e c o m i n g a c oncert
pianist, perhaps i n s p i r e d by an a u n t who was a c o ncert
p iani s t in Italy. His first serious c r e a t i v e endeavor,
however, was in the l i t e r a r y field. In 1919, he penned
three chapters of a novel, which wa s n e ver finished."*
His literary efforts s u r f a c e d a g a i n in the 1920s with
p ub l i s h e d artic l e s on p i a n o t e c h n i q u e a n d dance.
C res t o n ' s musical e d u c a t i o n b e g a n to b l o s s o m w h e n he
was in his teens. He s t u d i e d the scores of clas s i c a l
performances he had h e a r d on the radio, and of upcom i n g
perfo r m a n c e s o n WNYC M a s t e r w o r k s Hour. Th e scores were
o b t a i n e d from the New Y o r k City P u b l i c Library, since he
was too poor to purchase them. Creston, therefore, gained
his formal e d u c a t i o n by studying the m a s t e r w o r k s of the
great composers. "In theory, harmony, counterpoint,
orchestration, a n d c o m p o s i t i o n I a m e n t i r e l y and completely
self-taught.
C r e s t o n c o n t i n u e d t a k i n g piano lessons in N e w York
City in the 1920s. His teachers w e r e G a s t o n Dethier, Carlo
Stea and G. A l d o Randegger, the l a t t e r with w h o m he studied
for three and one- h a l f years. He s t u d i e d o r g a n w i t h Pietro
Yon for one a n d one-half years, b e g i n n i n g in 1924.
D u r i n g his junior y e a r of high school, C r e s t o n was
forced to leave school b e c a u s e of the family's financial
pressures. To m a k e ends m e e t he w o r k e d at m a n y odd jobs
such as: an e r r a n d boy at M a c F a d d e n p u b l i s h i n g from 1922-23;
12
a bank clerk at C o l u m b i a T r u s t in 1924; and a claims
e x e c u t o r at M e t r o p o l i t a n L i f e from 1924-26. D e s p i t e the
arduou s w ork schedule, he p r a c t i c e d pi a n o one hour in the
m o r n i n g and from five o ' c l o c k until e l e v e n o 'clock at night,
after w h i c h he spent time s t u d y i n g var i o u s subjects. He
smoked coffee beans to k eep awake. C r e s t o n b e l i e v e d if
E d i s o n c o u l d get along on f our hours of sleep, he could

7
too.
C reston's first m u s i c a l oc c u p a t i o n was as an organist
in a s i l e n t picture the a t e r wh e r e sometimes his g r u eling
sche d u l e included up to six shows per day. He enjoyed
the w o r k and later r e c a l l e d that he was a "very

Q
c o n s c i e n t i o u s cue-er."
In 1927, C r e s t o n m a r r i e d Louise Gotto, a d a n c e student
who later became one of the first m embers of M a r t h a Graham's
Company. As a frequent a c c o m p a n i s t for her dance classes
C r e s t o n was impressed by the potential of dance rhythms
in music, and m a i n t a i n e d t hat the foundation of m u s i c was
in song or dance. He later e x p r e s s e d his philosophy on
dance a n d its r e l a t i o n to music:
Mu s i c and D a n c e have a l w a y s been to me the S iamese

T w i n Arts. I c a nnot t h i n k of one, somehow, w ithout
the other. The former is, in m ind and time, what
the latter is in body a n d space. Perhaps, the union
of the two is the ideal A r t . . .^though each can
a n d does exist w i t h o u t the other.
At the onset of the depression, C r e s t o n e m b a r k e d on
a short attempt at se l l i n g insu r a n c e and real estate.
13
He later recalled, "I c o u l d n ' t s ell a n y t h i n g . " 1^ Creston
was also a free lance o r g a n i s t a n d a c c o m p a n i s t for the
Musicians E m e r g e n c y F u n d (MEF), an o r g a n i z a t i o n d e s i g n e d
to provide w o r k for u n e m p l o y e d musicians.
In 1932, at the age of 26, C r e s t o n made a conscious
decision to pursue a c a r e e r in composition. His
compos i t i o n a l style was v e r y c o n s e r v a t i v e and reflected
the fact t hat he had s t u d i e d the wo r k s of Bac h and Ravel,
among others. C r e s t o n p l a n n e d a s y s t ematic strategy
that would g ive him the c o m p o s i t i o n a l exper i e n c e s he n e e d e d
before he felt he c o u l d e m b a r k o n m a j o r o r c h e s t r a l works:
When in 1932 I d e f i n i t e l y d e c i d e d on a composer's

career, I p l a n n e d on a p r o g r e s s i v e course: first short
piano pieces, t hen some songs, then to cha m b e r m u s i c
and a string quartet, and n o t until Op. 16 did I w r i t e
my first o r c h e s t r a l work, not until Op. 20 did
I write my first symphony.
In J une of 1933, C r e s t o n ' s d e b u t as a c o m p o s e r o c c u r r e d
at the W e s t c h e s t e r C o u n t y C e n t e r w i t h the p r e m i e r e of
incidental m u s i c to I r o n Flo w e r s (later o m i t t e d from his
list of compositions). E a r l y p i a n o works include the Five
D a n c e s , Op. 1, which was w r i t t e n in 1932 and S e v e n T h e s e s ,
Op. 3, p u b l i s h e d the f o l l o w i n g year. The latter was
premiered at a c o m p o s e r forum at the N e w School for Social
Rese a r c h in O c t o b e r 193 4 w h i c h w a s h e a d e d by c o m p o s e r H e n r y
12
Cowell. T h a t same y e a r C r e s t o n a c c e p t e d a p o s i t i o n as
organist at St. M a l a c h y ' s C h u r c h o n W e s t 48th Street
14
in Manhattan, a post he held for thirty-three years until
he m o v e d to the s t a t e of W a s h i n g t o n in 1967.
In 1935, C r e s t o n p r e s e n t e d Three P o e m s from Wal t
W h i t m a n , Op. 4, a w o r k for v i o l o n c e l l o a n d piano, to Aaron
C o p l a n d who, a c c o r d i n g to Creston, "was impr e s s e d w i t h
my t a l e n t . " 1 ^ Also, Copland o n c e said o n a radio program:
" U s u a l l y s e l f - t a u g h t c o mposers belong to the very g o o d
or the v e r y bad. Fortunately, Mr. C r e s t o n belongs to the

14
former." However, an i n c i d e n t told b y afriend of Creston
suggests there was a limit to the goodwill between the
two c o m p o s e r s :
I a t t e n d e d a concert c h a i r e d by A a r o n C o p l a n d wherein
the m u s i c of young c o m p o s e r s was to be heard, including
the C e l l o S o n a t a of Paul Creston, m y friend. Mr.
C o p l a n d presided, giving i n t r o d u c t i o n s to eac h
composer, d e t a i l i n g th e i r backgrounds.
W h e n Paul was introduced, Mr. C o p l a n d stated his name

a n d m a d e a p e r f u n c t o r y remark, "I d o n ' t know muc h
a b o u t Mr. C r e s t o n . " I f e l t this was a "put-down"
a n d was furious.
D u r i n g this period, C r e s t o n was s t i l l a c t ively
p e r f o r m i n g e a r l y p i a n o c o m p o sitions suc h as the P i a n o
S o n a t a , Op. 9. He a lso f r e q u e n t l y s e r v e d as an accompanist.
In 1936, C r e s t o n a c c o m p a n i e d s a x o p h o n e virtuoso, Cecil
L e e s o n o n a tou r in Central a n d S o u t h w e s t e r n U n ited States.
The t e a m p e r f o r m e d C r eston's S u i t e for S a x o p h o n e a n d P i a n o ,
Op. 6 , one of the o n l y pieces o n the p r o g r a m which was
not a t r a n s c r i p t i o n . 1 6 With this work, C r e s t o n b e g a n his
long, s u c c e s s f u l a f f i l i a t i o n w i t h the "neglected"
15
instru m e n t s w h i c h also included the m a r i m b a a n d the
accordion.
In 1936-38, and again in 1940, C r e s t o n a t t e n d e d the
presti g i o u s Y a d d o Festivals of A m e r i c a n Music in Saratoga
Springs, N e w York. These festivals cons i s t e d of open
rehear s a l s c o n c l u d i n g with numerous concerts. Creston
w o r k s p e r f o r m e d were:
1 936 S t r i n g Quartet, Op. 8 ; F i v e Dances for Piano,

Op. 1
1 937 S u i t e for Saxophone, Op. 6 ; Partita for Flute
a n d V i o l i n and String Orchestra, Op . 1 2
1 938 T w o C h o r i c Dances, Op. 17A (Chamber Orchestra
version)
1 940 C o n c e r t i n o for Marimba, Op. 2 1 ,17
C r e s t o n wa s d i s m a y e d that the Y a d d o Festival in 1939
h a d be e n c a n c e l l e d and wrote to Cowell "There will be no
Y a d d o music p e r i o d this year, which I regret v e r y much,

18
as I have a l w a y s found it an e x h i l a r a t i n g experience."
A l t h o u g h C r e s t o n m a i n t a i n e d that his style never
s u b s t a n t i a l l y c h a n g e d over the years, insight gai n e d during
the Yaddo f e s t i v a l s helped hi m to b e c o m e a more refined
a n d more p r e c i s e composer:
After s t r u g g l i n g with the sax s u ite as m u c h as I did

I swore I w o u l d never w r ite a n y t h i n g that could not
be p l a y e d a l m o s t at sight. I feel that w i t h just
a little m o r e a t t e n t i o n and work the same effect can
be a c h i e v e d w i t h simpler technical means (we know
this is t r u e reg a r d i n g the theoretical means). . .
and it is c e r t a i n l y w o r t h the e x t r a effort on the
co m p o s e r ' s part.
C r e s t o n ' s k n o w l e d g e of o rchestration techniques was further
r e f i n e d d u r i n g the 1938 festival.
16
I u s u a l l y do my c o m p o s i n g in the m o r n i n g f r o m nine
to twelve . . . I h a v e been studying for s o m e time
R i m s k y - K o r s a k o f f 's b o o k on O r c h e s tration a n d the more
I study_it the more I realize what a m a s t e r l y book
it i s .
C r e s t o n was a w a r d e d a $2,500 Guggenheim F e l l o w s h i p in 1938,
and a g a i n in 1939. Customarily, recipients w e n t abroad
to wor k but C r e s t o n chose to stay in Ne w York.
I have always wor k e d well at home, e s p e c i a l l y since

the a c q u i s i t i o n of a concert grand piano. Furthermore,
my wife an d I are e x p e c t i n g a child in the fall and
I d e f i n i t e l y w a n t to be with her when that glorious
event takes place.
Cre s t o n c l e a r l y sta t e d his objectives in a p p l y i n g for the
Guggenheim:
I w i s h to d e v o t e at l east one year of my life to

c reative w o r k free from financial d i s t u r b a n c e s and
u n i n t e r r u p t e d by the m a n y inconsequential jobs I must
a ccept in o r d e r to k e e p my livelihood at a
q u a s i - c o m f o r t a b l e level. Specifically, I am most
e a ger to b e g i n w o r k o n a symphony.
T h r e n o d y , Op. 16, the Two Choric D a n c e s , Op. 17, and
the first two m o v e m e n t s of Symphony No. 1 , O p . 20, were
p ro d u c e d dur i n g T h e G u g g e n h e i m Fellowship p e r i o d in 1938.
The successful p r e m i e r e of T h r e n o d y , by Fritz R e i n e r and
the P i t t s b u r g h S y m p h o n y O r c h e s t r a in Decem b e r of that year,
brought the composer to national attention. Creston wrote
"[Threnody] is my first orchestral work and I consider
myse l f fortunate indeed to be able to hear it so soon after

23
completion."
In the late 1930s, C r e s t o n gave numerous T o w n Hall
recita l s in New Y o r k i n c l u d i n g his debut in F e b r u a r y of
17
1937, in w h i c h he a c c o m p a n i e d saxophonist, Cecil Leeson.
T h e Suite for V i o l a and P i a n o , Op. 13 was p e r f o r m e d in
the T o w n Hall in N o v e m b e r of that year, an d in O c t o b e r
of 1939, the S u i t e for V i o l i n and P i a n o , Op. 18 was
premiered.
Creston's first t e a c h i n g a p p o i n t m e n t was at the
C u m m i n g t o n S c h o o l of the A r t s in M a s s a c h u s e t t s , in the
25
summer of 1940. He t a u g h t both p i a n o and c o m p o s i t i o n
students but m a i n t a i n e d o n l y a p rivate c o m p o s i t i o n studio

26
a fter his t e n u r e there.
Dur i n g the 1940s C r e s t o n r e c e i v e d many awards including
the Mu sic A w a r d of the A m e r i c a n A c a d e m y of Arts and Letters
for 1941-43 for w h i c h he r e c e i v e d a $1,000 grant. The
N ation a l A s s o c i a t i o n of C o m p o s e r s a n d C o n d u c t o r s c i t e d
him as the o u t s t a n d i n g A m e r i c a n c o m p o s e r of serious music
for 1942-43. H e also r e c e i v e d the A l i c e M. Dit s o n Award
for the Poem for H a r p a n d O r c h e s t r a , Op. 39, in 1945.
But it was the N e w York M u s i c Critics' C i r c l e A w ard for
the 1942-43 s e a s o n which w a s the m o s t prestigious. Creston
won this award for his f i rst symphony w h i c h was judged
the best work o f an A m e r i c a n compo s e r p l a y e d in New York

27
d u r i n g the 1942-43 season. The f i r s t N e w York
pr e s e n t a t i o n of this p i e c e was a p e r f o r m a n c e given by Eugene
O r m a n d y and the P h i l a d e l p h i a O r c h e s t r a in Carne g i e Hall
in M a r c h of 1943.
18
C r e s t o n m u sed o n the impact this award had on his
career:
C u r i o u s l y enough, I have n o t b e e n able to stir any

e x c i t e m e n t w i t h i n myself w i t h this Critics' Award.
I am thankful t h a t a good deal of p ublicity has
r e s u l t e d from it, but I s t ill w o u l d rather have the
o p i n i o n s of t h o s e friends an d acq u a i n t a n c e s whom I
respect, than o f p r o f e s s i o n a l critics. This may s o u n d
a bit ung^gteful, but it is n e v e r t h e l e s s an honest
reaction.
Critic O l i n Downes o f the New Y o r k T i m e s r e v i e w e d the
first s y m p h o n y s h o r t l y after the Critics' Circle Award
announcement:
Mr. C r e s t o n ' s c o m p o s i t i o n g a v e us much satisfaction

by its clear-cut, s t r a i g h t f o r w a r d musical thinking;
its b a l a n c e of lyrical, r h y t h m i c and contrapuntal
elements; the g e n e r a l s k i l l f u l n e s s and soun d - w o r t h i n ess
of the instrumen t a t i o n ; the c o n t r a s t and balance,
w i t h i n the u n i t y of the framework, of the different
movements, and the style w h i c h di d not tide to d e a t h
some t e c h n i c a l theory, form or formula.
L e g e n d a r y c o n d u c t o r Arturo Toscannini, who di s c o v e r ed
Creston's m u s i c by w a y of A l f r e d W a l l e n s t e i n (conductor
of the Los A n g e l e s Philhar m o n i c ) , b e g a n his association
with C r e s t o n in 1 9 4 1 . 3 ^ In a l e t t e r to C r e s t o n dated 21
September 1941, T o s c a n n i n i w r ote in u n a b a s h e d terms that
"I love [the T w o C h o r i c Dances I w i t h o u t r e s e r v e " . ^ 1 In
addition to the Two C h o r i c D a n c e s , T o s c a n n i n i also p e r f o r med
Frontiers, Op. 34. Creston, wh o r e v e r e d Toscannini, wrote
a b out the i m p a c t of h a v i n g the famous c onductor perform
his music:
He p l a y e d my C h o r i c Dance w i t h the NBC Symphony

O r c h e s t r a last N o v e m b e r [1941], a n d also with the
Ci n c i n n a t i and P h i l a d e l p h i a O r chestras. That p r o b a b ly
19
a c c ounts for the epidemic of C r e s t o n m u s i c these past

two months. I am g r a d u a l l y b e c o m i n g a permanent
fixture at C a r n e g i e Hall a n d points south and west.
The n e x t major or c h e s t r a l w o r k C r e s t o n completed was
the Sy m p h o n y No. 2 , Op. 35, w h i c h was p r e m i e r e d in 1945,
by the N e w Yor k P h i l h a r m o n i c - S y m p h o n y O r c h e s t r a with A r t hur
Rodzinski conducting. Simmons calls the s y m p h o n y his
"best known and most r e p r e s e n t a t i o n a l w ork ."'^ The
sympho n y has earned numerous p e r f o r m a n c e s a n d was "one
of the few mode r n works that [ c o n d u c t o r P i e r r e Monteaux]

34
has c o n s i d e r e d worthy of c o m m i t t i n g to m e m ory." The
second symphony, which won him an aw a r d fro m the National
F e d e ra t i o n of Music Clubs, in 1947, g a r n e r e d numerous
reviews of praise. W i n t h r o p Sargent, in the New Y o r k e r ,
beamed:
I found it a ver y d i s t i n g u i s h e d work, in which a fine

feeling for s ymphonic s t r u c t u r e is c o m b i n e d with real
o r i g i n a l i t y and vigor. U n l i k e Mr. Stravinsky, Mr.
C r e s t o n uses no tricks. His style is m o d e r n w i t h o u t
being doctrinaire, e m o t i o n a l l y alive wit h o u t being
vulgar or derivative. He w r i t e s w i t h utmost cla r i t y
and wit, and wit h a c o m p e l l i n g f o r c e fulness that never
allows one's interest to flag. His s y m p h o n y struck
me as o n e of the most a u t h e n t i c things of its kind
that I have ever heard fro m the pen of a c o n t e m p o r a r y
A m e r i c a n composer.
Virgil T h o m s o n thought the s e c o n d s y m p h o n y was "a mast e r ful
work, mature, sure of itself, technically free, and

36
struct u r a l l y w ell-sustained." Paul H e n r y Lang felt
the piece w a s "the k ind of m u s i c u p o n w h i c h a nation's
cultur e is built: honest, good m u s i c that is a pleasure
20
to hear, a n d that i nvites a des i r e to hear m o r e of its
k i n d . " 37
Cr e s t o n was M u s i c D i r e c t o r for the Hour of F a i t h radio
pro g r a m from 1944 to 1950, and compo s e d m u sic for o t h e r
radio programs such as S t o r y l a n d Theatre and the P h i l c o

38
Hall of Fame. C r e s t o n taught at the U n i versity of
Southe r n C a l i fornia in the summer of 1948. That s a m e year,
he recei v e d an award from the Music Library A s s o c i a t i o n
for his Two Choric D a n c e s .
In the 1950s, C r e s t o n was prominent on the n a t i o n a l
music scene. He c o n s i s t e n t l y ranked very high in a s u r v e y
by Musical A m e r i c a of w o rks by A m e r i c a n composers p l a y e d
by orchestras. For example, in 1959, Creston had n i n e
differ e n t w o rks p e r f o r m e d t w e n t y - f o u r times, second o n l y
to Copland wh o had e i g h t dif f e r e n t works p erformed
twenty - s e v e n times. In terms of performances, Creston

39
was featured in the "top five" nine times.
One of Creston's m o s t successful orchestral w o r k s
was his S y m p h o n y No. 3 , Op. 48 (subtitled "Three
Mysteries"), a work p r e m i e r e d by Eug e n e O r m a n d y and the
P hilad e l p h i a O r c h e s t r a in 1951. C r e s t o n felt O r m a n d y
p erformed the work " b e a u t ifully" e s p e cially since t h ere
was no previous p e r f o r m a n c e for O r m a n d y to rely on for

40
interpretation. T h e s y m p h o n y d e p i c t s the life of Christ:
the Nativity, the C r u c i f i x i o n and the Resurrection.
2.T
Cowe l l wrote:
E v e n when t h e im p r e s s i o n is a r a t h e r c o n v e n t i o n a l
one, the p h i l o s o p h i e s u n d e r l y i n g the m u s i c a l procedures
are usually c l e a r l y his own, a n d the sense of
c o n v e n t i o n a l i t y is not c a u s e d b y a n i m i t a t i o n of anyone
else's metho d s , music, o r ideas. C r e s t o n ' s o w n ideas,
however, l e a d hi m into m u s i c of e n o r m o u s e f f e c t i v e ness
rat h e r than i n t o great music. H i s m u s i c is p r o p e r
for the s t a g i n g of the P a s s i o n p l a y rat h e r than for
the Life of C h r i s t itself. It is s u p e r - m o v i e music,
b e t t e r than m o s t actual m o v i e m u s i c , but w i t h the „
same a p p r o a c h to the r e l a t i o n of m u s i c and events.
Cowell also felt t h a t "the o r c h e s t r a l w r i t i n g is c l e a r
and deft, with t h a t u n u s u a l l y d i s c e r n i n g sense of e a c h
instr u m e n t and w h a t it is g o o d for t h a t one has come to

42
expect of C r e s t o n . "
The first s i g n i f i c a n t r e c o r d i n g o f Cres t o n ' s m u s i c
was the second a n d third s y m p h o n i e s r e c o r d e d by H o w a r d
Mitche l l and the N a t i o n a l S y m p h o n y O r c h e s t r a for W e s t m i n s t e r
records in 1954. B o t h of t h e s e s y m p h o n i e s an d the fifth
s ympho n y have b e e n recor d e d r e c e n t l y a n d r e l e a s e d on major
labels on compact disc.
Cre s t o n ' s f i r s t symphony w o n f i r s t place in the Paris
Intern ational R e f e r e n d u m in 1952. F o u r years later, Creston
was el e c t e d to a f o u r - y e a r terra as P r e s i d e n t of the National
A s s o c i a t i o n of A m e r i c a n C o m p o s e r and C o n d u c t o r s . Also
in 1956, he r e c e i v e d the C i t a t i o n of H o n o r from the National
C athol i c M u sic E d u c a t o r s A s s o c i a t i o n a n d was a p p o i n t e d
to a teach i n g p o s i t i o n at S w a r t h m o r e C o l l e g e .
Cres t o n ' s m u s i c fl o u r i s h e d in R u s s i a at the h e i g h t
of the c o l d war. H e said t h a t K a b a l e v s k y had told h i m
22
"personally" tha t his m u s i c was p o p u l a r in the Soviet

43
Union. A R u s s i a n r e v i e w in 1956 stated:
Creston, jus t as Piston, b e l o n g s to that group of

c o n t e m p o r a r y A m e r i c a n comp o s e r s who are united in
their ser i o u s a p p r o a c h to art, in their constant
o p p o s i t i o n to e x t r e m e m o d e r n i s m and in their
d e v e l o p m e n t of the living t r a d i t i o n s of classical
music.
In 1957, W i n t h r o p S a r g e n t c o m m e n t e d o n Creston's style:
I u n d e r s t a n d as a c o m p o s e r he is largely s e l f - t a u g h t —
3 c i r c u m s t a n c e that is less u n u s u a l than might be
supposed a m o n g i m p o r t a n t co m p o s e r s . Creston's w o r k
hasn't the J u i l l i a r d touch, o r the Nadia B o u l a n g e r
touch, or the D a r i u s Milhaud touch, or the S c h o e n b e r g
touch or the D i a g h i l e v - S t r a v i n s k y - R u s s i a n ballet touch.
It is, a p a r t from its r e l iance on certain basic l aws
of musical structure, pure C r e ston.
C r e s t o n t r a v e l e d to Israel a n d T u r k e y for about a
m o n t h in 1960, v i a a U n i t e d States S t a t e Department grant.
He lectu r e d t h e r e on A m e r i c a n m u s i c a n d attended c o n c e r t s
f e a t u r i n g his music. In the U n i t e d States, C reston
c o n t i n u e d to m a k e guest a p p e a r a n c e s at various colleges
a n d univ e r s i t i e s in the r o l e of b o t h conductor and composer.
From 1963 to 1967, he t a u g h t at the N e w York C ollege of
Music. Creston frequently, however, found New York
u n a c c o m m o d a t i n g for p e r f o r m a n c e s o f his music. An article,
in 1966, a ddresses the question:
T h e n why is Mr. C r e s t o n ' s m u s i c neglected, e s p e c i a l l y

in New Y o r k City? W h y are the accolades a n d the
atte n t i o n g i v e n to e n i g m a t i c m o d e r n works which a r e
harsh and o f t e n i m p o s s i b l e to understand, or to s h o w y
pieces w h i c h c a p i t a l i z e on fads a n d causes, or to
imports f r o m places like S o v i e t Russia?
23
P a r t i a l l y b e c a u s e of this, an d because he loved the
Northwest, Creston accepted a Distinguished
C o m p o s e r - i n - R e s i d e n c e a p p o i n t m e n t at C e ntral W a s h i n g t o n
State C o l l e g e in Ellensburg, in 1967, where he remai n e d

47
until r e t i r e m e n t in 1975. A l t h o u g h he cultivated m a n y
new ar t i s t i c pos s i b i l i t i e s in the West, his move g r e a t l y
limited pote n t i a l N e w Y o r k performances. Gerard S c h w a r t z
summar i z e d "I lost track of him like so m a n y people d i d
when he left New Y o r k . . . and u n f o r t u n a t e l y we were in
a time in musical history when unless you lived in New

48
York, p e o p l e i gnored you."
Still, p e r formances aro u n d the country, particularly
at the u n i v e r s i t y level, c o n t i n u e d unabated. During the
composer's 70th b i r t h d a y year, C r e s t o n noted "[1976] is
proving to be a b a n n e r year for me: since January I've

49
had about 1 0 0 perform a n c e s . "
C r e s t o n p u b l i s h e d two books in his later years:
Principles of R h y t h m (1964) and Rational Metric N o t a t i o n
(1978). T h e s e books served to c l a r i f y imprecise r h y t h m i c
termin o l o g y and to ident i f y five commonly o c curring r h y t h m i c
structures in music. Creston, w h o s e entire output
p r o m i n e n t l y features rhythm, a c t u a l l y codified the five
rhythmic s t r u ctures in 1945, in S i x Preludes for P i a n o ,
Op. 38. N i c h o l a s S l o n i m s k y w r ote of Rational Rhythmic
Notati o n "[it] o u g h t to be made o b l i g a t o r y study in all

50
music schools."
24
Creston's final y e a r s were very active. In 1980,
he wrote:
A good compo s e r n e v e r retires; he retires only w h e n

he has no more i d e a s ; cannot produce an y more a n d
has no m o r e health. S i nce I re t i r e d as a co l l e g e
professor, I've h a d m o r e ideas than ever. I simply 1
had to put them a s i d e an d take them one at a time.
In 1981 , a C r e s t o n F e s t i v a l was held at L a w r e n c e U n i v e r s i t y
in Appleton, Wisconsin, w h e r e many of his b a n d c o m p o s i t i o n s
were recorded. In 1983, C r e s t o n d e l i v e r e d the k e ynote
address at the National F e d e r a t i o n of Music Clubs C o n v e n t i o n
in 1983. His P i ano T r i o , Op. 112, was pre m i e r e d by th e
M i r e c o u r t T r i o at G r i n n e l l College, in Grinnell, Iowa,
in 1980 and was produced as a d o c u m e n t a r y by Iowa p u b l i c
television. T e r r y King, a m e m b e r of the trio, p r oclaimed:
Paul C r e s t o n is on e of the most perf o r m e d of all

A m e r i c a n composers a n d always will be b e cause of the
i m m e d i a c y of his music. His m u sic a f t e r fifty s o m e
years of c o m p o s i t i o n still has a tremendous e x u b e r a n c e
that it ha d all of its life. T here's no fading in
Paul Creston. It's as vital and important as it wa s
w h e n he started.
C r e s t o n w r ote to the trio that year:
O n l y a c o m p o s e r can a p p r e c i a t e to the fullest y o u r

— i n d i v i d u a l l y and c o l l e c t i v e l y - - p e r f o r m a n c e of
m y music, the b r i n g i n g to life the b l a c k symbols o n
w h i t e paper, and c o m m u n i c a t i n g the c o m p oser's m e s s a g e
to an audience. Y o u r sensitivity, your fidel i t y a n d
the c o n v i c t i o n of y o u r i n t e r p r e t a t i o n was most
g r a t i f y i n g and-,the g r e a t e s t r e w a r d for my efforts
an d creation.
S y m p h o n y No. 6 , Op. 118, and S a d h a n a , Op. 117, were
Cre s t o n ' s last large s c a l e o r c h estral works. Sadhana,
finish e d in 1981, was r e g a r d e d by the compo s e r as his
25
54
greatest masterpiece." T h i s w o r k was stron g l y i n f l u e n c e d
by the R o s i c r u c i a n philosophy, a g r e a t passion of C r e s t o n ' s
final years. O n e c r i t i c s a i d of the premiere:
[Sadhana] c o u l d have b e e n w r i t t e n 40 years

a g o . . . T h e w o r k d i d n ' t seem to earn its final
sweetness, bu t it was so o r i g i n a l in voice, well
w r o u g h t a n d c o m p e l l i n g l y sincere, that for brief
moments, m u s i c a l h i s t o r y s e e m e d undone.
C r e s t o n wa s d i a g n o s e d w i t h k i d n e y cancer in 1984.
However, he r e m a i n e d o p t i m i s t i c a b out his health:
M y s u s p i c i o n [is] the c a n c e r was caused by H Y P E R T E N S I O N

a n d STRESS [ c a p i t a l i z a t i o n Creston's]. Fo r the p a s t
t h r e e years I ha d two d i a b o l i c a l traumas with two
p u b l ishers w h i c h a l m o s t b r o u g h t m e to the brink of
disaster. B u t w i t h a c h a n g e of attitude and c e r t a i n
r e l a x i n g e x e r c i s e s I am r e g a i n i n g my o p t i m u m health
a n d strength.
C r e s t o n d i e d on 24 A u g u s t 1985, at the age of
seventy-nine. H e was s u r v i v e d by his wife and two sons.
His friends, S e b a s t i a n and A n n Caratelli, w r o t e on the
m emori a l service program: "We have lost a friend. The
music w o r l d has lost a g r e a t artist. But h i s t o r y has g a i n e d

57
an illustrious n a m e and has e n s h r i n e d it in its pantheon."
CHAPTER 2
HIS T O R I C A L B A C K G R O U N D OF THE TWO WORKS
FOR S O L O PIANO AND O R C H E S T R A
The F a n t a s y for P i ano and Orch e s t r a
Cres t o n ' s first w o r k for solo p i ano and o r c h e s t r a
was the F a n t a s y for P i a n o and O r c h e s t r a , Op. 32, w h i c h
was com p l e t e d in S e p t e m b e r of 1942. It was p r e m i e r e d by
the High School of M u s i c and A r t Orchestra, with A l e x a n d e r
Richter conducting, in C a r n e g i e Hall on 14 F e b r u a r y 1943,
and br oadcast live o v e r WNYC, a New Y o r k classical radio
station. Th e pianist was a n o n y m o u s . 1
Cr e s t o n d e s c r i b e d the eight-minute, one-movement
c o m p o s i t i o n in p r o g r a m notes from a s u b sequent performance.
It is in four c o n t r a s t i n g sections based on one

principal theme. The first s e ction presents this
theme in a short but vigorous orchestral intro d u c t i o n
(7 measures), the solo p i ano immed i a t e l y e n t e r i n g
with an a r a b e s q u e t r eatment of the theme. After a
minor climax, the m o o d subsides, leading to the second
and lyric section, w h e r e i n the piano maintains the
p r ominent role a n d the o r c h e s t r a supplies a sim p l e
accompaniment. T h e third and sche r z o - l i k e s e c t i o n
picks up the pace abruptly, and stresses the rhythmic
aspect: several r h y t h m i c patterns within the 2/4 meter
being c o n c u r r e n t l y p r esent at times or a l t e r n a t e d
in r a p i d succession. The m u sic gra d u a l l y mounts in
i ntensity and dynamics, l e a d i n g to the final section:
a majestic, m a r c h l i k e fugato.
26
27
According to Creston, the Fantasy was only "moderately
difficult" to play. The work was, however, very c hallenging
n ot a t i o n a l l y and r h y t h m i c a l l y . 5
The F a n t a s y was w r i t t e n w i t h the intent of being
performed by a high school orchestra. As early as October
of 1942, Cr e s t o n a t t e m p t e d u n s u c e s s f u l l y to solicit Le o p old

4
Stokowski to perform the piece. C r eston eventually f a vored
A l exa n d e r Richter's H i g h School of Music and Art Orchestra
for the premiere. His e n s e m b l e was a collection of "gifted
students who could p r ep a r e their careers in the arts
. . . w i thout s a c r i f i c i n g a g e n e r a l e d u c a t i o n . " 5 Richter
was also inspired to ask C r e s t o n ' s contemporary, Aaron
Copland, to write the O u t d o o r O v e r t u r e , another shorter,
s ingl e - m o v e m e n t w o r k . 5
In 1943, the A d v i s o r y C o m m i t t e e for the Pulitzer A w ard
in Music r e quested to e x a m i n e th e Fantasy as well as
Creston's Pastorale an d T a r a n t e l l a , Op. 28, and Dance
Variations for Soprano an d O r c h e s t r a , Op. 30, although
none of the works r e c e i v e d an a w a r d . 7 That same year,
the Indianapolis S y m p h o n y O r c h e s t r a performed the F a n t a s y ,
w hich prompted Creston, u p o n h e a r i n g the tape, to write
the orchestra: "Thank you for a s p l e n d i d performance of
m y work. The vigor a n d b r i l l i a n c e w h ich the composition

Q
calls for was p erfectly evid e n t . "
In September of 1943, pi a n i s t A n d o r Foldes attempted
to obt a i n from C r e s t o n e x c l u s i v e performing rights to the
28
piece. B o t h parties a g r e e d that the p e r f o r m e r w o u l d
r e l i n q u i s h 33% of the c o n c e r t fee r e c e i v e d for pl a y i n g
the work. O n e month a f t e r the agreement, however, Fol d e s
chan g e d his m i n d and w a n t e d C r e s t o n to c o m p o s e a piano
c oncer t o for him. C r e s t o n was u n a b l e to c o m p l y b e c a u s e

Q
of the time c o n s t r a i n t pla c e d u p o n h i m by Foldes.
Th e Natio n a l S y m p h o n y O r c h e s t r a p e r f o r m e d the F a n t a s y
on 15 D e c e m b e r 1944, d u r i n g a live b r o a d c a s t over WNYC.
A c c o r d i n g to C r e s t o n ' s records, the piece wa s p l a y e d t w e n t y
times in the 1 9 4 0 s . 1 ^
The first p e r f o r m a n c e of the F a n t a s y to ac q u i r e
critic a l r e v i e w was a 27 May 1951 p e r f o r m a n c e by the
Nation a l G a l l e r y Orchestra, with R i c h a r d B a les c o n d u c t i n g
and Rose d ' A m o r e as soloist. Two W ashington, D.C.
new s p a p e r s r e v i e w e d th e concert. A l i c e E v e r s m a n in the
E v e n i n g S t a r stated:
C r e s t o n ' s co m p a c t "Fantasy" s u r r o u n d s the solo part

w i t h an e x u b e r a n t o r c h e s t r a t i o n while g i v i n g the p i ano
g l i t t e r i n g passages of more t h a n o r d i n a r y com p l e x i t ies.
Th e i n s t rument is b l e n d e d w i t h the e n s e m b l e in the
clean-cut, fo r t h r i g h t way, y e t its p o t e n t i a l i t i e s
are e x p l o i t e d w i t h true skill. There a r e few o c c a s i o n s
of p u r e l y lyric c h a r a c t e r for e i t h e r the o r c h e s t r a
or the soloist in this vivid, p u l s a t i n g w o r k w h i c h
n e v e r t h e l e s s has an i n g r a t i a t i n g q u a l i t y r u n n i n g
t h r o u g h it. It is m o d e r n bu t no t d i s s o n a n t ^jjid its
o p u l e n c e has s o m e t h i n g f l a m e - l i k e and fresh.
G l e n n D i l l a r d G u n n w r o t e in the T i m e s - H e r a l d :
The c o m p o s i t i o n is stimulating. The p e r f o r m a n c e in

all e l e m e n t s was brilliant.
In Miss d'Amore, the c o m p o s e r has found a c h a r m i n g

an d e v i n c i n g exponent. She has a flair for his
b r i l l i a n t piano idiom, which is so l i g h t l y and
29
c h a r m i n g l y touched by sentiment. This is a close

k nit score, e x p e r t l y d e v e l o p e d b o t h for the solo
i n s t r u m e n t and the orchestra. It is colorful,
imaginative, vigorous, and hig h spirited.
C r e s t o n has cre a t e d h ere a d r a m a t i c e x p r e s s i o n that

is as u r g e n t as a T s c h a i k o w s k y pag e and, of course,
far m o r e m o d e r n in idiom. It includes o n e of the
b est s c h erzos of recent vintage. The f i n a l e lifts
a brief m a r c h theme to a s t i r r i n g climax.
P i a n i s t G a r r i c k Ohlsson, at the age of 16, p erformed
the F a n t a s y on 29 D e c em b e r 1960 at the White P l a i n s
C o m m u n i t y Church, w ith C r e s t o n conducting. M o r e recent
p e r f o r m a n c e s h a v e b e e n in 1972, also in White Plains; 1973
at C e n t r a l W a s h i n g t o n State College; 1984 in Kokoma,
Washin g t o n ; a n d 1985 at B u t l e r University. T h e w ork was
p u b l i s h e d in a two- p i a n o r e d u c t i o n by G. S c h i r m e r in 1972.
T h e C o n c e r t o for Piano a n d O r c h e s t r a
T h e C o n c e r t o for Piano and O r c h e s t r a , Op. 43 was
c o m p l e t e d in 1949, a n d is in three movements. T h e work
is c l a s s i f i e d as "very difficult" by Cre s t o n a n d is a
t w e n t y - m i n u t e c o m p o s i t i o n of subst a n t i a l v i r t u o s i t y .13
T h e piano c o n c e r t o was not C r e s t o n ' s first w o r k in
the c o n c e r t o genre. Aside from the F a n t a s y , he had
p r e v i o u s l y w r i t t e n an acco r d i o n concerto, a marimba
c o n c e r t i n o and a saxophone concerto. These works, written
for the " n eglected" instruments, h ave all r e m a i n e d in the
a ctive repertoire.
T h e piano c o n c e r t o was c o m m i s s i o n e d by V i o l a Malkin
in m e m o r y of her late husband, J o s e p h D. Malkin.
30
She was c o m p e l l e d to c o m m i s s i o n it because her husband
had "felt that because of the e m o t i o n a l power of music
and its cultural c o n t r i b u t i o n to so great a number of
people, a m o r e worthy memor i a l w o u l d be p e r p e t u a t e d by

14
a musical c o m p o s ition." In F e b r u a r y of 1949, Creston
wrote:
At p r esent I am w o r k i n g on a piano concerto

(commissioned). It began w i t h many obs t a c l e s and
h e art-aches but it is now c o m i n g along quite nicely.
I had got t e n so u s e d to w r i t i n g for o u t l a n d i s h
instruments (saxophone, marimba, trombone, etc.) that
I found it d i f f i c u l t to cieal w i t h a r e s p e c t e d
i nstrument for a change.
The co m m i s s i o n s t i p u l a t e d that the c o m p o s i t i o n was
to be p r e m i e r e d in Philadelphia. T h e premier was slated
for the 1950-51 season of the P h i l a d e l p h i a O r c h e s t r a
c o n d u c t e d by Eugene O r m a n d y with W i l l i a m Kappel as soloist.
O r mand y ' s words of inspiration, as e a r l y as Febru a r y 1949,
h e l p e d to fuel Cres t o n ' s efforts. C r e s t o n r e s p o n d e d to
Ormandy:
I ha s t e n to tell you how much I a p p r eciate your

c ont i n u e d co n f i d e n c e in my work. It has been like
a shot in the arm a n d I have r e s u m e d m y task with
r e newed energy a n d hope. I s i n c e r e l y pray that the
c o m p l e t e d work will justify y o u r faith and I an t i c i pate
with k e e n e s t p l e a s u r e your p r e s e n t a t i o n of it.
By J u n e of 1949, the work was completed, and C r eston
rema r k e d "I feel a h u n d r e d pounds lighter in my moral being.
The fact that I have also received my check for this
com m i s s i o n h e l p s . " 17 A b o u t a year later, however, it
a p p e a r e d that the P h i l a d e l p h i a p r e m i e r e was not
31
g o i n g to occur. C r e s t o n l e a r n e d that Kappel w o u l d not
be playinghis concerto, a n d an appeal to pianist Jose
Echan i z to salvage the p e r f o r m a n c e apparently was

t . 18
unsuccessful.
C r e s t o n then turned to H o w a r d Mitchell, cond u c t o r
of the National S y m p h o n y O r c h e s t r a in Washington, D.C.,
to premiere the concerto. Mitchell, an ardent supp o r t e r
of Creston's music, would r e c o r d his second and third
symphonies for W e s t m i n s t e r R e c o r d s four years later.
Negotiations with the N a t i o n a l Symphony Orchestra were
i ni t i a t e d as e a r l y as S e p t e m b e r 1949, w h e n Mitchell wrote
C r e s t o n "for this coming s e a s o n I am listing . . . I hope,

19
P iano Concerto w i t h Earl W i l d . "
C r eston o b t a i n e d p e r m i s s i o n for the National Symph ony
O r c h e s t r a to p r e m i e r e the p i e c e in Washington, D.C., on
1 N o v e m b e r 1950. How a r d M i t c h e l l c o n d u c t e d the o r c h e s t r a
w ith Earl Wild as the f e a t u r e d soloist. Wild had just
r e c e n t l y premiered C r e s t o n ' s Six Preludes for P i a n o , Op.
38. In a written i n t e r v i e w w i t h the author, Wild, a former
c o m p o s i t i o n student of C r e s t o n , stated he wished "to change
a few spots" in the piano p a r t but the composer w o u l d not
a l l o w it. They d i d not p a r t c o m p a n y as friends, altho u g h
C r e s t o n thought e n o u g h of W i l d to dedic a t e the T h r e e
N a r r a t i v e s , Op. 79, (a set o f virtuosic solo piano pieces)
to the pianist in 1962.^°
32
P r o g r a m no t e s to the d e b u t d e s c r i b e the concerto:
T h i s c o m p o s i t i o n was c o m p l e t e d in J u l y 1949 a n d is
in three movements. T h e first m o v e m e n t (Allegro
Maestoso) o p e n s with a v i g o r o u s presentation of the
m a i n theme b y full o r c h e s t r a , soon taken up by the
p i a n o in a r a t h e r r h a p s o d i c style. This leads to
the second t h e m e (cellos and basses) with a r a b e s q u e
f i g u r a t i o n s in the sol o instrument. This s e cond theme
in a u g m e n t a t i o n forms t h e basis of the quietly lyric
s e c t i o n w h i c h ensues. A f t e r a short orchestral
interlude, a fuller d e v e l o p m e n t of the two themes
a n d moods is presented, c l o s i n g in brilliant style.
The second movement (Andante tranquillo) is pastoral

in mood and is also based on two principal themes;
the first tranquil and lyric, the second slightly
agitated. The development of these themes is entrusted
largely to the solo instrument.
The third movement (Presto) is quite rhythmic in

character and has much of the feeling of a Tarantella,
although several un-Italian rhythms make their
appearance here and there. The rhythmic drive is
maintained^throughout, even in the less impetuous
sections.
T h e c o n c e r t o was r e v i e w e d in four Washington ne w s p apers
where c r i t i c a l o p i n i o n was q u i t e varied. Paul Hume of the
W a s h i n g t o n Post felt:
T h e mu s i c is p erfectly p u t together, but it says almost

nothing. It has all the a l l u r e of the Warsaw Concerto,
a n d the rich o r c h e s t r a t i o n of the concertos of
Rachmaninoff. W ild h a n d l e d its tricks and tough lines
w i t h p erfect technique a n d assurance. p 5 ut it is not
w o r t h the tim e and e f f o r t put into it.
The W a s h i n g t o n D a i l y News w a s m o r e neutral:
T h e first movement, A l l e g r o Maestoso, started out

r a t h e r t e n t a t i v e l y but w i t h the A n d a n t e tranquillo
m ovement, Mr. Creston a c h i e v e d real distinction.
A n d the finale, Presto, m a d e qu i t e an impact w i t h
its surging rhythm.
Alice E v e r s m a n of the E v e n i n g S t a r was resoundingly
enthusiastic:
33
It is a w o r k that should d e l i g h t pianists a n d the

p u b l i c for a long time. E x p e r t l y planned for both
solo in s t r u m e n t and for the orchestra, it contains
all the e ffects that intri g u e the artist and appeal
to the listener. Its p r o t o t y p e ca n be found in all
the l o n g - l i v e d piano conc e r t o s a n d it is not to Mr.
C r e s t o n ' s d i scredit that he u n d e r s t o o d what m a d e for
their success and utili z e d it in his own way.
T h e "Concerto" abounds w i t h v i t a l i t y and so sk i l l f u lly

is its progress directed that not a wavering moment
ca n be found. It begins in s w e e p i n g fashion that,
d e s p i t e its b r o a d and vigor o u s line, has a s o n g in
it. For the solo instrument he has devised the kind
of technical brilliance that g i ves joy to the
performer, t e sting his finger p r owess and his
m u s i c i a n s h i p at the same time. Th r o u g h the rat h e r
d e n s e o r c h e s t r a l part r u n filigree patterns of great
c h a r m on the piano.
A rha p s o d i c theme dominates the A n d a n t e tranquillo

an d here and there is a little let-down in the sure,
f o r w a r d - m o v i n g writing. W h e n the energetic rhythms
of the P r e s t o take over in the final movement, the
s p i r i t a n d fire returns. Th e c o m p oser's e x p l a n a t i o n
in the p r o g r a m notes is "the f e e l i n g of a Tarantella"
but N o rth an d South A m e r i c a n r h y t h m i c influences are
the most prominent. The whole w o r k pulses w i t h life
and requires in the soloist, the free, dashing style
and c o m p l e t e technical m a s t e r y s u c h as is Mr. Wild's
gift. 4
Finally, G l e n n D i l l a r d Gunn s h a r e d Eversman's en t h u s i a s m
in his T i m e s - H e r a l d review:
C r e s t o n is a modernist; bu t he a l s o is a melodist.
The ne w c o n c e r t o is filled with melody; some of it
w a r m l y lyric, as in the slow movement, some of it
e x c i t i n g l y rhythmical, some of it mounting in broad
i m p o s i n g climaxes. C r e s t o n has a contemporary harmonic
v o c a b u l a r y as pungent if not so bru t a l as is
P r o k o f i e f f 's , although he r e s e m b l e s the Soviet master
not at all, exc e p t in s p iritual intensity.
He u n d e r s t a n d s piano acoustics. He knows how to make

the i n s t r u m e n t sing, and glitter, and thunder.
S ometimes he uses e s tablished means. Sometimes his
ke y b o a r d patterns are b e w i l d e r i n g l y new. But they
always s ound and always serve the soloist in his
address.
34
. . . The chubby, genial compo s e r makes friends

quickly. As for the a c c e s s i b i l i t y of his music,
I do not recall a new work of like c o m p l e x i t y that
has been received so warmly and quickly.
The piano concerto was not p e rformed a g a i n until 7
Nove m b e r 1962 w h e n Eugene List played it in Carne g i e H a l l
with the O r c h e s t r a of A m erica under the d i r e c t i o n of R i c h a r d
Horn. Cr e s t o n garnered no less than seven reviews from
N e w York critics, which, compa r e d with the Wa s h i n g t o n
reviews, were much more negative. Part of r a t i o n a l i z a t i o n
for this may be that, by this time, musical taste had
shifte d away from Creston's conservative style in favor
of more p r o g r e s s i v e trends. The critic for Musical A m e r i c a
stated:
[It was] a w o r k given to all the excesses of W a r n e r

B rothers at its wildest. In fact, it sounds very
much the kind of concerto wr i t t e n by c o m p o s e s in
movies a b out composers who w r ite concertos.
Louis Biancolli from the New York World Telegram felt:
[The work was] a bang-up concerto [that was] B r a v u r a

Unlimited, one upheaval following another. Except
for the poetic calm of the Andante.
C r e s t o n has written tighter and more original scores,

but none so frankly influenced by the
Liszt-Tchaikowsky-Rachmaninoff-Gershwin lineage.
W i l l i a m F l a n a g a n from the Ne w York Post noted:
But the t r ouble with Creston's concerto is that for

all its h e a v i n g and sighing, for all its e m u l a t i o n
of the cont o u r s of highly e x p r essive music, for a l l
its cautious accessibility, it is, at the bottom,
quite w i t h o u t passion. Very m u c h like one of those
numbers run off by Ma x Steiner, or somebody, for the
Carnegie Hall finale of any one of several soggy d r a m a s
from W a r n e r Brothers during the thirties and forties.
35
R o n a l d Eyer for the New Y o r k Herald T r i b u n e wrote:
In general, the c o n c e r t o is a b r i l l i a n t an d facile

ke y b o a r d showpiece in C r eston's usual m e l l i f l u o u s
style, w h i c h rarely d eparts far from the tradi t i o n a l
stuff of its kind. Some t i m e s it skirts u n c o m f o r t a b l y
c lose to the kind of music fake pianists p l a y in m o v i e s
and even a p p r oaches s a l o n music, as the a s c e n d i n g - -
cadence c h o r d s at th e end of the second movement.
H a r o l d S c h o n b e r g ' s revi e w in the N e w York T i m e s was,
perhaps, the m o s t vitriolic.
This is a concerto t h a t has everything: Faure, D'Indy,

R achmaninoff, Shostakovich, jazz. It is a pastiche,
and not a v e r y good one, s o u n d i n g like m o v i e music.
("So this gu y is a composer, see, and he writes this
concerto, see, and h e plays it in C a r n e g i e
Hall . . - 3 !- Music like this simply c a n n o t be t a k en
seriously.
C r e s t o n was in f u r i a t e d w i t h S c h o n b e r g and r e t o r t e d in
a let t e r to the critic.
I have p u r p o s e l y d e l a y e d for o v e r three w e eks my a n s w e r

to your r e v i e w of my P iano C o n c e r t o in the Ne w York
Times of N o v e m b e r 8 to allow a "cooling off" period.
It is not my policy to combat i n v e ctives w i t h angry
words but I do want to censure your u n j u s t i f i a b l e
c omments on me as a composer.
A d v e r s e c r i t i c i s m of m y c o m p o s i t i o n s n e ver u n b a lances
m e in my p u r s u i t of a r t i s t i c ideals. However, I f o u n d
y o u r st a t e m e n t s of a n e s t a b l i s h e d c o m p o s e r undignified,
d isres p e c t f u l , unconscionable, sciolistic, biased,
m al i c i o u s a n d unpardonable. Y o u r p a r e n t h e t i c a l remark:
"(so this gu y is a composer, see, and he writes this
concerto, see, and h e plays it in C a r n e g i e
Hall)" . . . is the e p i t o m e of b a d taste. A n d your
c o n c l u d i n g statement: "Music like this s i m p l y cannot
be taken seriously". . . is an a c c u s a t i o n of a p o s t a s y
a n d insult to my i n t e g r i t y as a c r e a t i v e artist.
In some measure, t h ere is an e x c u s e for your false

i m p r e s s i o n of the c o n c e r t o since the p e r f o r m a n c e of
the solo part was far from ideal, t e c h n i c a l l y and
i n t e r p r e t i v e l y . M o s t of your c o l l e a g u e s w e r e fully
a w are of this inj u s t i c e to the w o r k but Y O U were not.
36
Yo u w e r e c o n c e r n e d with y o u r attack o n the c o m p o s e r

r a t h e r than the merits of the composition.
. . . is it too m u c h to as k of such a n o m n i s c i e n t
b e i n g to be a li t t l e moreôbjective, less p r e j u d i c e d
a n d just a l i t t l e humble.
S c h o n b e r g d e f e n d e d his position.
Fair enough. B u t I did not attack the composer.

I a t t a c k e d the work, w h ich is a s o m e w h a t d i f f e r e n t
matter. Y o u r r e m a r k s a b o u t cri t i c i s m in general b r ing
up too m a n y issues to be disc u s s e d in a letter. If
we ever run a c r o s s one another, p e rhaps we can d i s c u s s
them amicably, a f t e r I pick myself up off the floor.
I am r e m i n d e d of George B e r n a r d Shaw's remark w h e n
so m e b o d y a c c u s e d hi m of b e i n g prejudiced, etc. "Who
do y o u , t h i n k I a m NO T to be prejudiced?" asked Shaw.
"God?"
S o m e reviewers, however, sought to f i n d s o m e t h i n g
p o s i t i v e a b out the piece. Th e N e w York J o u r n a l A m e r i c a n
said the c o n c e r t o r e c o v e r e d in the second m o v e m e n t " b e c a u s e
of two g o o d themes" a n d "the rhyth m i c fi n a l e proved e q u a l l y
attractive." 3 3 Finally, The Music Journal stated "this
c o n c e r t o makes for p l e a s a n t lis t e n i n g and contains m u c h
i d i o m a t i c w r i t i n g in Mr. C r e s t o n ' s c o n s e r v a t i v e style.
C r e s t o n s u b m i t t e d the piano concerto to pianist J o h n
Ogden, in 1964, who r e p l i e d it was "a most vivid and
i n t e r e s t i n g work. [I] will s u g g e s t it to E n g l i s h o r c h e s t r a s
and t r y to a r r a n g e a p e r f o r m a n c e . " ^ Also, C reston w r o t e
Peter Eros, c o n d u c t o r of the Sa n Diego Symphony, in 1976,
in a n a t t e m p t to s o l i c i t a perfor m a n c e w i t h an eager H o w a r d
36
Wells as soloist. A p e r f o r m a n c e failed to m a t e r i a l i z e
with b o t h O g d e n an d Wells. C r e s t o n r e f l e c t e d on this years
later:
37
D espite w h a t ar t i s t s believe, no work o f mine for

solo or duo and o r c h e s t r a has gotten a p erformance
through my n e g o t i a t i o n s but through the artist's effort
with conductors. I tried to get Peter Eros to pe r form
my Piano C o n c e r t o w i t h his o w n regular pianist, Howard
Wells, w i t h o u t success.
To this author's knowledge, the c o n c e r t o has been p e r f o r m e d
only one more time: in 1967, at C e n t r a l W a s h i n g t o n State
College.
CHAPTER 3
A STYLISTIC A N A L Y S I S OF THE F A N T A S Y
FOR PIANO A N D O R C H E S T R A , OPUS 32
Creston's Fantasy for P i a n o and O r c h e s t r a , Op. 32,
was completed in 1942. The work is guided by the p r i n c i p l e
of thematic transformation. C r e s t o n stated in the p r o g r a m
notes that the four c o n t r a s t i n g sections (hereafter c a l l e d
"movements" to avoid confusion) of the work are b a s e d on
a principal theme stated in the first seven measures.
In this light, spiritual r e l a t i v e s of this w o r k m i g h t be
the Wand e r e r Fantasy in C M a j o r , Op. 15, of Franz S c h u b e r t
(1797-1828), or the Piano C o n c e r t o in E-flat M a j o r of Franz
Liszt (1811-1886), works w h i c h a l s o embrace thematic
transf o r m a t i o n and, like the F a n t a s y , are in four m o v e m e n t s
played without pause.
Henry Cowell, in an a r t i c l e w r i t t e n six years a f t e r
co m p le t i o n of the F a n t a s y , r e m a r k e d on the skillful thematic
integr a t i o n in Creston's o r c h e s t r a l works: "There is no
one known to me who h a ndles m o r e expertly the t r a d i t i o n a l
types of development of a m u s i c a l g e r m . . . [his music]
achieves a smoothness of i n t e g r a t i o n that is e x t r e m e l y
rare on such a scale t o d a y . " 1
38
39
M o n i c a S l o m s k i r e m a r k e d on C r e s t o n " t a k i n g his t h e m e s
t h r o u g h a p e r p e t u a l o d y s s e y of a l t e r a t i o n and
tr a n s f o r m a t i o n . " S u c h o b s e r v a t i o n s m i g h t also a p p l y to
the F a n t a s y .
T h e F a n t a s y is r e l a t i v e l y easy to p l a y from a technical
standpoint; o n l y m i n i m a l d e m a n d s are p l a c e d upon the piano
soloist. Creston, w h o w a n t e d the p i e c e to be a c c e s s i b l e
to y o u n g e r p e rformers, plac e d a d i f f i c u l t octave p a s s a g e
in the final m e a s u r e s in an o s s i a . ^ T h e F a n t a s y is,
however, v e r y c h a l l e n g i n g r h y thmically. T h e piano often
breaks into a s u d d e n h e m i o l a pattern, or plays a r h y t h m
which c o n t r a d i c t s the meter. T h e o r c h e s t r a and s o l o i s t
fre q u e n t l y e m p l o y c o n f l i c t i n g r h y t h m i c patterns, fur t h e r
o b f u s c a t i n g the meter.
T h e F a n t a s y e n j o y e d n u m e r o u s p e r f o r m a n c e s in the 1940s.
It has bee n p e r f o r m e d i n f r e q u e n t l y in r e c e n t years, however,
de s p i t e be i n g the o n l y C r e s t o n w ork for p i a n o and orch e s tra
still in pr i n t wit h a t w o - p i a n o reduction. Indeed, the
techni c a l a c c e s s i b i l i t y and b r e v i t y of the work, place
the F a n t a s y in a unique, u n c r o w d e d n i c h e of k e y b o a r d
concerti.
Movement I
Example 1 shows the s e v e n - m e a s u r e o r c h e s t r a l
i n t r o d u c t i o n p r e s e n t i n g p r i n c i p a l t h e m a t i c and r h y t h m i c
ideas w h i c h pre v a i l t h r o u g h o u t the work.
40
W ith s p ir it ( J- - i t )
I PIANO
W ith sp irj,
- r * ---- ~ $ S -
II PIANO
(O r c h e s tr a )
Th ame A-1
II
T h e m e A-1
$+-9
E x a m p l e 1. Paul Creston, F a n t a s y for P i ano and

O r c h e s t r a , m e a s u r e s 1-8. Cop y r i g h t @1972 by G. Schirmer,
Inc. (ASCAP) I n t e r n a t i o n a l C o pyright Secured. All R i g h t s
Reserved. R e p r i n t e d by Permission.
41
The main theme (Theme A) is heavily anacrustic; a firm
downbeat is not e s t a b l i s h e d until measure 6 w h e n the
o rchestra b e g i n s to play in a 2/4 m e ter pattern,
c o n tra d i c t i n g the pr i n t e d 6/8 meter. C reston r e f e r s to
this rhythmic d e v i c e as the Fourth Rhythmic S t r u c t u r e . 4
The i n t r o d u c t i o n conta i n s one principal t h e m e d i vided
into two parts. The first part of the theme (Theme A-1),
is m e l o d i c a l l y b a s e d on a neighbor-tone. At m e a s u r e s 3
and 4, Theme A-1 concludes w i t h an a s cending m i n o r third
followed by a d e s c e n d i n g m i n o r second. The s e c o n d part
of the theme (Theme A-2), is based on the idea of a s c e n d i n g
seconds e n c o m p a s s i n g a third. The m a jor third pred o m i n a t es
in the first part of T h eme A-2 wheras the m i n o r third
predominates in the sec o n d part.
Theme A-2 a l s o conta i n s two rhythmic m o t i v e s w h i c h
recur throughout the F a n t a s y : Rhythmic M o t i v e - 1 (hereafter
a bbreviated as R M - 1 ) w hich is a combination of sixteenth-
and eighth - n o t e figures, and Rhythmic M o t i v e - 2 (RM-2) which
contains a d o t t e d e i g h t h - n o t e figure. The i n t r o d u c t i o n
concludes in m e a s u r e s 6 and 7 with T h eme A-1 m e l o d i c a l l y
superimposed on R M - 1 .
The F a n t a s y begins in D Major; the p r e s e n t a t i o n of
Theme A-1 in the piano at m e a s u r e 9 is in the s a m e key,
reinforcing the home key of the opening movement. However,
T heme A-1 is freely h a r m o n i z e d with chords that are related
through the h a l f steps found in the melody. F o r example,
42
in me a s u r e 1, a D M a j o r - 7 is a d j a c e n t to an e n h a rmonic
B-flat 9 chord. T h e s e chords c o n t a i n the "A" and " G-sharp"
(enharmonic "A-flat") of the m e l o d y , respectfully. The
roots of t h e s e chords form a c h r o m a t i c m e d i a n t relationship.
Th e m e A-2, in m e a s u r e s 2 a n d 3, utilizes a complete
w h o l e - t o n e s c a l e in t h e lower o r c h e s t r a l instruments (the
missi n g " G-sharp" is s u p p l i e d b y the c h o r d in measure 2).
When Theme A - 2 e n c o m p a s s e s a m i n o r third (measures 4 a n d
5); e x t e n d e d t ertian harmony, however, accom p a n i e s the
theme. M e a s u r e 5 b e g i n s with t h e c h o r d s C7, A flat-9 a n d
F-sharp 7 which, again, shows a p r e f e r e n c e for chro m a t i c
mediant r e l a t i o n s h i p s .
The p i a n o enters the F a n t a s y (Example 2) with an
arpeg g i a t e d s u b d o m i n a n t ninth c h o r d w h i c h creates a p l a g a l
Example 2. P a u l Creston, Fa n t a s y for P i a n o and

O r c h e s t r a , m e a s u r e s 8-10. Copyright @1972 by G. Schirmer,
Inc. (ASCAP) I n t e r n a t i o n a l C o p y r i g h t Secured. All R i g h t s
Reserved. R e p r i n t e d b y P e rmission.
cade n c e with the f o llowing measure. Acc o r d i n g to Slomski,
this was one of three w a y s C r e s t o n p r e f e r r e d c a d e n c i n g . 5
At measure 9, the piano o u t l i n e s T h e m e A-1 in D Major with
arpegg i a t e d cho r d s in a 3/4 m e ter pattern, sometimes
r e f e r r e d to as hemiola w i t h i n the barline. Creston's
termin o l o g y for this is th e First R h y t h m i c Structure.
The 6/8 m e t e r is r e a f f i r m e d w h e n the orchestra joins
the piano (Example 3, m e a s u r e 11). T h eme A-2 is now
s m o o th ly
II
II
E x a m p l e 3. Paul Creston, F a ntasy for Piano and

O r c h e s t r a , m e a s u r e s 11-14. Copyright §1972 by G. Schirmer
Inc. (ASCAP) I n t e r n a t i o n a l C o p y r i g h t Secured. All Rights
44
p r e s e n t e d in a u g m e n t a t i o n by the p i a n o (twice as slow as
the or c h e s t r a l i n t r o d u c t i o n ) . This d e v i c e gives it g r e a t e r
melodi c d e f i n i t i o n than in its first appearance. Theme
A-2 also is p l a c e d in inversion by the strings (measures
11-13).
By m e a s u r e 16, Themes A-1 and A - 2 have been stated
in both piano a n d orchestra, sim i l a r to a the
d o u b l e - e x p o s i t i o n form found in many concerti. Measures
16 through 61, therefore, f u n ction as a lengthy d e v e l o p m e n t
section in w h i c h these themes are s u b j e c t e d to "fantasy-
like" thematic transformations.
T h e piano initiates the d e v e l o p m e n t at the dynamic
level of me z z o forte by enter i n g "expressively" (Example
4). It is a c c o m p a n i e d by oboes and clarinets playing
\ l ------- -------------- 1 * J V--- i--- ■ ^ _

-1 f —* f
* ________^
m- f
----------------- r j ------------- » ----- — --------
— — — ^ ^ 1--------------
expressively
$ • *1 w * * 1 ^ 1 1 ™ — x—
4 L _ f_ i f « r 1 r r< I s -f . * i ! i
p o b o e > c lf
Example 4. Paul Creston, F a n t a s y for Piano and

O r c h e s t r a , m e a s u r e s 16 and 17. Copyright @1972 by G.
Schirmer, Inc. (ASCAP) International Copyright Secured.
All Rights Reserved. R e printed by Permission.
45
staccato w h ich serves to d o u b l e the m e l o d i c line. Theme
A-2 is stated in the left h a n d of the p i ano part, beginning
with the d e s c e n d i n g fourth f o und in m e a s u r e 3 (Example
1). Th e piano does not a d o p t RM-2 a s s o c i a t e d w i t h that
fourth, however, but uses e i g h t h notes w h ich c o n f o r m to
the 6/8 meter a n d are s i m i l a r to T h eme A-1 in the opening.
The s i x t e e n t h - n o t e a c c o m p a n i m e n t figures of the p i a n o c r e a t e
rhythmic i n s t a b i l i t y by b e g i n n i n g and ending on w e a k beats.
In E x ample 5, the flu t e s and the o b oes (measures 18-
19) present T h e m e A-2 w h i l e the piano engages in a rhythm
derived from th e en d of T h e m e A-1 in the o r c h e s t r a l
introduction (Example 1, m e a s u r e s 2-3): a dotted q u a r t e r
note tied to a q u a r t e r n o t e followed by an eighth note.
m ar
r
F!.
II
Example 5. Paul Creston, F a n t a s y for P i a n o and

O r c h e s t r a , m e a s u r e s 18-20. Copyright @1972 by G. Schirmer,
Inc. (ASCAP) I n t e r n a t i o n a l C o p y r i g h t Secured. A l l Rights
Reserved. R e p r i n t e d by P e rmission.
46
This simultaneous use o f d i f f e r e n t themes in the o r c h e s t r a
a n d piano is on e of m a n y e x a m p l e s o f thematic layering
found in the F a n t a s y . Also in this section, the chords
D Major-7 (measure 18) a n d B - f l a t 9 (measure 19) are r e t a i n e d
as chromatic mediants. T h e r e s o l u t i o n of the latter c h o r d
is to the e x p e c t e d E-flat, but it is an a u g m e n t e d triad
instead of the a n t i c i p a t e d m a jor triad.
The d e v e l o p m e n t a c q u i r e s m o r e s o p h i s t i c a t i o n b e g i n n i n g
in measure 30 (Example 6). Harmonic tension is created
by an "F-sharp" pedal, i n t r o d u c e d in the piano and bass.
The strings a n d w o o d w i n d s (measure 34) serve to further
the instability by r h y t h m i c a l l y s u b d i v i d i n g the 6/8 m e a s u r e
into four d o t t e d eighth n o t e s (h e r e a f t e r RM-3). This e f f e c t
is e v e n more s t r i k i n g s i n c e C r e s t o n keeps the piano and
lower instruments of the o r c h e s t r a in rhythms traditional
of 6/8 meter.
Wh o l e - t o n e h a r m o n y p r e v a i l s in this section. An
orchestral s t a t e m e n t of T h e m e A-1 (juxtaposed with Theme
A-2 in the piano) has b e e n m o d i f i e d to whole steps instead
of the previous half steps (measure 31). From measures
31 to 34, the m e l o d y in the piano a n d strings adheres
exclu s i v e l y to the w h o l e - t o n e scale beg i n n i n g on "F"; in
m easu r e s 36 to 38, the m e l o d y g e n e r a l l y belongs to the
w hole-tone scale b e g i n n i n g on " F - s harp." In b o t h instances,
the melody tends to a s c e n d by a third. From measures 31
to 34, the m e l o d y in the p i a n o rises from "A" to "C-sharp";
47
m f
I
M.
II
RM-.3
II
Jt
p in c re a s e
I
2JL
p tncrease
II
Exa m p l e 6. Paul Creston, Fantasy for Piano and

O r c h e s t r a , measures 30-38. Copyright @1972 by G. Schirmer,
Inc. (ASCAP) I n t e r n ational Copyright Secured. Al l Rights
48
from measures 36 to 38, the a s c e n d i n g pitches are "C,"
to "E-flat."
A stark r h y t h m i c and harmo n i c c h a n g e begins (Example
7, mea s u r e 41) w h e n the piano issues simple, yet
b r i l l i a n t - s o u n d i n g m a j o r chords in s e c o n d inversion
SB
fm
Example 7. Paul Creston, F antasy for P i ano and

O r c h e s t r a , measu r e s 41-45. C o pyright @1972 by G. Schirmer,
Inc. (ASCAP) International C o pyright Secured. All Rights
!
49
u t i l i z i n g RM-3. T h e s e chords, w h i c h are d o u b l e d in the
orchestra, plane t h r o u g h v a r i o u s h a r m o n i e s h i g h l i g h t i n g
a C Major, D-flat Major, and E - f l a t Major p r o g r e s s i o n .
A l t h o u g h t h ese chords are r e l i e v e d of p i a n i s t i c
accomp a n i m e n t , the f l u t e and p i c c o l o p r o v i d e e m b e l l i s h m e n t
employing R M - 1 . Th e sudden s i m p l i f i c a t i o n of h a r m o n y at
measu r e 41 precludes the w h o l e - t o n e and e x t e n d e d t e r t i a n
har m o n i e s w h i c h had prevailed.
In m e a s u r e 48 (Example 8), the "F-sharp" p e dal b e c o m e s
the root of a ninth c h o r d o u t l i n e d by the s t r i n g s an d
woo d w i n d s w i t h d e s c e n d i n g and a s c e n d i n g s i x t e e n t h notes.
Cre s t o n cr e a t e s an a c c e l e r a t i o n effect in the p i a n o by
g r a d u a l l y s h o r t e n i n g the note values. M e a s u r e 48 a l s o
has chords on the two strong b e a t s of the 6/8 meter;
I increase
3r
II in cre a se

O r c h e s t r a , measu r e s 48-50. C o p y r i g h t © 1 9 7 2 by G. Scnirmer,
50
m e a s u r e 49 uses quarter notes creating a 3/4 effect.
M e a s u r e 50 uses four d o t t e d e i g h t h notes (RM-3), an d measure
51 uses eig h t h notes.
The F - s h a r p 9 c h ord r e s o l v e s to a B h a l f - d i m i n i s h e d
7 c h o r d at measure 51 (Example 9), a r e f r e s h i n g r e s o lution
Hi
E xam p l e 9. Paul Creston, F a n t a s y for P i a n o and

O r c h e s t r a , measures 50-60. Copyright @1972 by G. Schirmer,
Inc. (ASCAP) International C o p y r i g h t Secured. All Rights
Reserved. R eprinted by P e r m i s s i o n .
51
of a s econdary d o m inant a f t e r w h o l e - t o n e and planing
harmonies w i t h their a t t e n d a n t ambiguity. On this half-
dim i n i s h e d harmony, the p i a n o states fragments of Theme
A-2, pu n c t u a t e d in the o r c h e s t r a w i t h chords or scales.
E v e n in this less c o m p l i c a t e d texture, rhythmic i ntensity
prevails by the shifting of accents to weak beats in the
piano melody p u n c t u a t e d b y o r c h e s t r a l chords o n a l t e r n a t i n g
wea k beats (measures 55 a n d 57).
A "C-sharp," a t t a i n e d in the piano in m e a s u r e 60,
is inter r u p t e d by the o r c h e s t r a w i t h an A7 e n h a r m o n i c a l l y
aug m e n t e d chord. Because there is a strong "G" octave
in the lower or c h e s t r a l instruments, this chord could be
a n a l y z e d a l t e r n a t i v e l y as an a u g m e n t e d d o m inant harmony
impos e d over a "G" pedal (V+/G). Thi s is ano t h e r ex a m p l e
of how Creston seeks to e l u d e a tradi t i o n a l V-I cadence.
An or c h e s t r a l tutti b e g i n s (Example 10, m e a s u r e 62)
in the home k e y of this movement, D Major. Th e m e A-1 is
s tated in q u a r t e r notes a n d p l aced in sequence that d e s c e n d s
by ma j o r thirds: "D," " B-flat," a n d "F-sharp" (enharmonic
"G-flat"). T h e e n h a r m o n i c B - f l a t 7 (measure 63), being
p r e c e d e d and f o l l o w e d by a D Major harmony, is r e m i n i s c e n t
of the opening tutti (Example 1). However, the B-flat 7
at mea s u r e 65 acts as a G e r m a n Sixth, whose immediate
r e s o lu t i o n to D Major c l a r i f i e s the key.
52
ML
Exampl e 10. P aul Creston, Fantasy for P i a n o and

O r c h e s t r a , m e a s u r e s 62-66. Copyright @1972 by G. S c hirmer,
Inc. (ASCAP) I n t e r n a t i o n a l Copyright Secured. All R i g h t s
Unison t e x t u r e p r e vails from mea s u r e 66 to the end
of the movement. In E x a m p l e 11, the cellos, bassoons a n d
basses state T h e m e A-1 in diminution. At m e a s u r e 69, a
passag e of b r o k e n major thirds, using RM-3, gradually
ascends to the o p e n i n g of the second m ovement. This u n i s o n
sectio n acts as a bridge between the first a n d second
m o v e m e n t a f f i r m i n g S l o m s k i ' s o b s e r v a t i o n that such
'monophonic t e x t u r e in C r e s t o n ' s o r c h e s t r a l m u s i c may occur.
. . as a b r i d g e between s e c t i o n s . " 6 T h e carefree,
improvisatory m a n n e r in t h e s e final m e a s u r e s seems to
sugges t r e f l e c t i o n before elision with the s e c o n d movement.
53
Exa m p l e 11. Paul Creston, F a n t a s y for P i a n o a n d

O r c h e s t r a , m e a s u r e s 66-71. Copyright §1972 by G. Schirmer,
Inc. (ASCAP) I n t e r n a t i o n a l C o p y r i g h t Secured. Al l Rights
M o v e m e n t II
The s e c o n d m o v e m e n t is m a r k e d "Lyrically" a n d the
m e t e r is c h a n g e d to 3/4. T h e p i ano begins with a solo
i n t r o d u c t i o n of twe l v e measures. The tranquil a t m o s p h e r e
o f this m o v e m e n t is r e f l e c t e d in the slower h a r m o n i c r h y t h m
(often c h a n g i n g e v e r y m e a s u r e r a t h e r than e v e r y beat as
in the first movement), a n d the less c o m p l i c a t e d
a c c o m p a n i m e n t p a t t e r n s a l l o w i n g for a more c a n t a b i l e sound.
The p i a n o o p e n s this m o v e m e n t by g e n t l y a r p e g g i a t i n g
a D M a j o r h a r m o n y w h i c h t e r m inates in the f o l l o w i n g m e a s u r e
w i t h a "wispy" f i g u r e in the treble r e g i s t e r (Example 12).
This t r a n s i t i o n a l m e l o d y in e i g h t h notes, w h i c h stands
54
out against the p r e c e d i n g arpeg g i a t e d eighth-note triplets,
was derived from T h e m e A of the opening movement. The
first two notes of th e t r a n sitional melody, based o n the
half-step figure, a r e de r i v e d from Theme A - 1 ; the n e x t
three notes, based o n seconds e n c o m p a s s i n g a minor third,
originate in Theme A-2.
The p i ano i n t r o d u c t i o n utilizes the Lydian m o d ^
(measures 75-76 and 82-83). The raised fourth a s s o c i a t e d
with the L y d i a n mode is f r e q uently employed by Creston,
especially in lyrical passages. Acco r d i n g to Creston,
"a penchant for the L y d i a n mode is evident in v i r t u a l l y
every composition of m i n e since 1 940.1,7
The t r a nsitional material a l s o shows a strong
insistence for a "D - s h a r p , " ei t h e r m e lodically or
harmonically. In m e a s u r e 77, it occurs e n h a r m o n i c a l l y
as an E-flat 7 which functions as the neapolitan h a r m o n y
of the key of D Major. The "D-sharp" occurs m e l o d i c a l l y
(measure 80) as the s h a r p ninth of a C7. It also a c t s
as the L y d i a n c o m p o n e n t of an A7 harmony (measure 82) and
as the root of a D - s h a r p 7 (measures 85-86), which conc l udes
the transitional section.
55
L yrically
( in tim e )
P
L y r ic a lly
4 ^ - ---
^___ ft* =iM.i± ±
re ta rd .
I PP
Jt
II
Example 12. Paul Creston, F a n t a s y for Piano an d

O r c h e s t r a , measures 75-86. C o p y r i g h t @ 1 9 7 2 by G. Schirmer,
Inc. (ASCAP) International C o p y r i g h t Secured. All Rights
56
The lyrical m a i n theme (Theme B) is p r e s e n t e d by the
piano (Example 13, m e a s u r e 87) in B M a jor, tonic of this
movement. T h e "D-sharp" of the p r e v i o u s harmony (Example
12) serv e d as a c o m m o n tone a n d the m e a n s by which the
key modulated. The k e y of B M a j o r is c o n f i r m e d by a
b o r r o w e d d i m i n i s h e d seventh h a r m o n y on b e a t two of m easure
87, and a n e a p o l i t a n o n the d o w n b e a t of the f o l l o w i n g
measure.
T h e m e B is not u n like the t r a n s i t i o n a l melody. The
h a l f - s t e p idea of T h e m e A - 1 , however, has now bee n alt e r ed
to wh o l e steps and the end of Theme B h a s been t r a n s f o r m ed
into c o n s e c u t i v e a s c e n d i n g notes, of w h i c h the final three
notes are wh o l e steps derived from T h e m e A-2.
J .108
- (in time)S"
S S t S T Z
p p m uted s trings
Ex a mpl e 13. Paul Creston, F a n t a s y for P i a n o and

O r c h e s t r a , m e a s u r e s 87-89. Copyright @ 1 9 7 2 by G. Schirmer,
Inc. (ASCAP) I n t e r n a t i o n a l C o p y r i g h t S e c ured. All Rights
57
T he role of the o r c h e s t r a is essen t i a l l y that of
a c c o mp a n i m e n t to T h e m e B. M u t e d strings imitate inte r v a ls
in the p i a n o u s i n g RM-1 in a u g m e n t a t i o n (measure 8 9).
Also, the double b a s s o f t e n serves to r e i n f o r c e the bass
line in the piano.
A s e c o n d s t a t e m e n t of T h e m e B is p r e s e n t e d in the
piano a hal f step lower, in B - f l a t Major (Example 14,
measure 96). The m o d u l a t i o n u sed to a r r i v e at this k e y is
somewhat u n c o n v e n t i o n a l . At mea s u r e 94, a strong F - s h a r p 7
(dominant in B M ajor), is u n e x p e c t e d l y f o l l o w e d by an
A13 (which retains the "F-sharp" as the thirteenth). The
A13, too, eludes a n o rmal r e s o l u t i o n whe n the "A" in the
bass and "C-sharp" in the m i d d l e voice f u n c t i o n as lea d i n g
tones to the B - f l a t chord.
tiig k i re ta rd
in time

O r c h e s t r a , m e a s u r e s 94-98. Copyright §1972 by G. Schirmer,
58
T h e piano r e c a l l s the transitional melody at m e a s u r e
100 (Example 15). C e l l o s a n d basses a ccompany w i t h
p izzicato brok e n c h ords (measures 100-104) and flutes and
clarinets c o n t i n u e the a c c o m p a n i m e n t (measures 104-107)
with a figure w h o s e fi r s t four notes a l s o resemble the
pm.
105
F1< r n ----
Cl.
II
Example 15. Paul Creston, F a n t a s y for Piano and

O r c h e s t r a , m e a s u r e s 100-106. Copyright §1972 by G.
Schirmer, Inc. (ASCAP) I n t ernational Copyright Secured.
All Rights Reserved. R e p r i n t e d by Permission.
59
transitional melody. The p i a n o planes a series of seventh
harmonies throughout this passage. T h i s use of p a r a l l e l i s m
finds its roots in the w o rks of the i m p r e s sionists. Creston,
who ad mired and s tudied the w o rks of D e b u s s y and Ravel,
was strongly influenced by this device. In " C r e a t i v e
Harmony," Creston e l u c i d a t e s that p a n t o n a l h a r m o n y — to
which parallelism b e l o n g s - - s e e k s to o p t i m i z e the c o l o r
of a succession of harmonies. This is in contrast to
harmonic progression that s e eks to c o m m u n i c a t e the logic
of h a r m o n i e s .®
The tonic key of B M a j o r returns w i t h the t h i r d
statement of Theme B in the p i a n o (Example 16, m e a s u r e
108). Increased rhythmic d r i v e is c r e a t e d by a 2/4 hemiola
pattern in the pizzicato strings. This is pitted ag a i n s t
in tim e ' a l i t t l e f a s t i
in tim e 'a lit t le fa s t e r ,

O r c h e s t r a , measures 108-111. C o p y r i g h t S 1 9 7 2 by G.
Schirmer, Inc. (ASCAP) Inte r n a t i o n a l C o p y r i g h t Secured.
60
the piano, w h i c h now a d o p t s an e i g h t h - n o t e a r p e g g i a t e d
accompaniment figure. In this statement, an extra m e a s u r e
(measure 109) u t i l i z i n g RM-2 in a u g m e n t a t i o n is i n t e r p o l a t e d
in Theme B v i a m o d i f i e d s e q u e n t i a l repetition.
An e l o n g a t e d s t a t e m e n t of T h e m e B occurs b e g i n n i n g
in measure 112 (Example 17) w h e r e the me l o d y begins on
the seventh o f an A L y d i a n c h o r d (instead of the h e r e t o f o r e
t h i r d of the h a r m o n y ) . A n o t h e r statement of Theme B oc c urs
at measure 118, also w i t h the m e l o d y c o m m e n c i n g on the
seve n t h of a C - s h a r p harmo n y . This statement contains
a n i n t e r p o l a t i o n in m e a s u r e 119: an e m b e l l i s h m e n t of m e a s u r e
118 using RM-1 in a u g m e n t a t i o n . Th e C-sharp 7 h a rmony
of this s t a t e m e n t is s u s t a i n e d by the strings for six
measures.
Te n s i o n is r e n e w e d w h e n the h e m i o l a pattern, previously
u s e d in the orchestra, is no w e m p l o y e d by the piano (Example
18, measures 126-127). W h e r e a s the opening p a r t of T h e m e
B remai n e d intact, this part of the theme is inverted into
t h ree d e s c e n d i n g steps, e a c h r e c e i v i n g two beats, creating
the rhythmic d r i v e t h a t b r i n g s this movement to a climax.
A d d i t i o n a l t e n s i o n is c r e a t e d w h e n the B-flat chord (a
m o d a l hybrid c o n t a i n i n g b o t h L y d i a n an d M L x o lydian elements)
at measure 124, is t e m p o r a r i l y e m b e l l i s h e d by a C-flat
chord (neapolitan) at m e a s u r e 126.
61
i increase
increase
ir
Exam p l e 17. P a u l Creston, Fantasy for Piano and

O r c h e s t r a , m e a s u r e s 112-122. Copy r i g h t §1972 by G.
Schirmer, Inc. (ASCAP) Int e r n a t i o n a l C o p y r i g h t Secured.
p p incre ase g r a d u a l l y
I
"T
p p increase g r a d u a l l y
Example 18. Paul Creston, F a n t a s y for Piano and __

O r c h e s t r a , measures 124-127. C o p y r i g h t §1 9 7 2 by G.
Schirmer, Inc. (ASCAP) I n t ernational C o p y r i g h t Secured.
T h r o u g h o u t this movement, the transitional melody
that o p e n e d the m o v e m e n t ’and T h e m e B have b e g u n with the
neighb o r - t o n e motive found in T h e m e A - 1 . All of the themes,
however, have ended somewhat differently. Slomski notes
this type of thematic transformation, r e f e r r e d to as
tangential variation, is a s t rong c h a r a c t e r i s t i c of
C reston's music. Un i t y in the Fan t a s y is achie v e d by
the similar beginnings of the themes; d i v e r s i t y by
subjec t i n g the ends of themes to numerous transformations.
M o v e m e n t two att a i n s climax in measures 135 through
139 (Example 19). The piano a n d orch e s t r a b e g i n with an
enharmonic D7 with a sharp-11 a n d e n h a r m o n i c minor-9
(measures 135-136). Thi s d i s s o n a n t harmony "resolves,"
63
the following measure, to a B M a j o r - 7 c h o r d by means of
the "A" of the D7 (in the u p p e r voice of the piano) acting
as a leading tone to an "A- s h a r p . " The bass in the piano
suggests d o m i n a n t - t o n i c root movement, m o v i n g "F-sharp"
to "B." Th e e x c i t e m e n t is i n t e n s i f i e d by sy n c o p a t e d
orchestral accompaniment, at m e a s u r e 137, while the piano
presents T h eme B in a u g m e n t e d note v a l u e s .
fl3S| kald hack in time
f? T a tti

O r c h e s t r a , measures 135-139. Cop y r i g h t @ 1972 by G.
Schirmer, Inc. (ASCAP) I n t e r n a t i o n a l C o p y r i g h t Secured.
The B Major h a r m o n y is s u s t a i n e d in the lower strings
from measures 140 to 147 c r e a t i n g a pedal point w h i c h serves
to reduce tension (Example 20). Various e x t e n d e d tertian
harmonies are s u p e r i m p o s e d o v e r the pedal (i.e., B Major-7,
B Major with a sharp-11, and B Augmented). In m e asure 144,
the piano has an ascending, a r p e g g i a t e d B L y d i a n chord,
culmin a t i n g in a r a i s e d fourth ("E-sharp") in measure 146,
and the major s e venth ("A-sharp") in m e a s u r e 147.
64
The inher a n t a m b i g u i t y of t h e s e two p i t c h e s lends the music
a con t i n u e d " i m p r e s s i o n i s t i c " sound.
LAO
I JL
—**
II
L145J
II dim.
'm a-
Example 20. Paul Creston, F a n t a s y for P i ano and

O r c h e s t r a , m e a s u r e s 140-147. Copyright @1972 by G.
Schirmer, Inc. (ASCAP) International C o p y r i g h t Secured.
All Rights R e served. R e p r i n t e d by Permission.
T h e m e B is p r e s e n t e d by solo piano (Example 21, measure
148) w h e n the m e l o d i c note b e g i n s on the L y d i a n ("A-sharp")
of an E M a j o r chord, the subdominant of B Major.
65
T h e "A-sharp" was b o r r o w e d from the p r e c e d i n g B M a j o r - 7
h a r mon y (Example 20). A brief hemiola of p l a n i n g seventh
chords (Example 21, m e a s u r e s 150-151) uses c h o r d s in
chromatic m e d i a n t relationships: e n h a r m o n i c G7, enharmonic
E-flat 7 and e n h a r m o n i c Cl. The l a t t e r chord act s as a
neapolitan p r e c e d i n g the final s t a t e m e n t of T h e m e B
(measures 152-153), w h i c h is in the to n i c key of B Major.
An o the r h e m i o l a follows (measure 154), c o n s t r u c t e d of
alternating s e v e n t h chords and a u g m e n t e d triads ove r a
pedal in the t i m p a n i .
s/ower
+^7
r e ta r d in g [1 5 5 1
TT
E x a mpl e 21 . Paul Creston, Fantasy for Piano a n d

O r c h e s t r a , m e a s u r e s 148-159. Copy r i g h t @1972 b y G.
Schirmer, Inc. (ASCAP) International C o p y r i g h t Secured.
All Rights R e s e r v e d . R e p r i n t e d by Permission.
66
T h e piano c o n c l u d e s w i t h two chords: B M a j o r - 7 and,
the h a r m o n y of B7 w i t h a n i n t h an d a sharp-11 (measures
158-159). Both h a rmonies o c c u r over a B A u g m e n t e d chord.
Such piquant sounds have e n r i c h e d this movement. Creston
stated in Creat i v e H a rmony that "the c o lor function of
harmony is not to be minimized. Quite often, a single
chord can e s t a b l i s h the c h a r a c t e r or mood of a c o m p o s i t i o n
more q u i c k l y than a n y other element of m u s i c . " 10 Complex
rhythms, which lie r e l a t i v e l y d o r m a n t in movement two,
are to reappear in the foll o w i n g movement.
Mo v e m e n t III
T he third m o v e m e n t is in the style of a scherzo but
in duple meter w i t h a brisk m e tronome m a r k i n g (the q u a r t e r
note equals 132-144). C r e s t o n wrote "moder a t e l y fast"
on the h o lograph s c o r e J 1 A light texture prevails
throughout the movement; p i z z i c a t o strings and staccato
woodwinds are f r e q u e n t l y employed. The p i a n o part is marked
"crisply" and, e x c e p t for t h e co n c l u s i o n of the movement,
generally avoids d e n s e chords.
The piano o p e n s the m o v e m e n t with c o ntinual s t a c c a t o
sixteenth and e i g h t h notes (Example 22). In measure 160,
the first three s i x t e e n t h n o tes are d e r i v e d from T h e m e
A-1 (in diminution); the f o l l o w i n g five sixt e e n t h n o tes
(in a 3 + 2 pattern) r e s e m b l e Theme A-2. This uneven
67
Them e
— ^
132 - '-i*
Ob.
Cl.
ri
I 13
SUL
Str. pizz.
Ha. T pt
3s
CLs.
£ 5*4 tt *$. *■?

ii
B sa
E x a m p l e 22. Paul Creston, F a n t asy f or Piano a n d

O r c h e s t r a , m e a s u r e s 160-170. Copyright @1972 b y G.
A ll Rights R e s e r v e d R e p r i n t e d by Permission.
68
subd iv isi on of a m e a s u r e is w h a t C r e s t o n referred to as
the Second Rhyth mi c S t r uc tur e.
In measure 161, a c o n v o l u t e d m e l o d i c figure is
i n t r odu ced which, a l t h o u g h r h y t h m i c a l l y based on RM-1,
is uni qu e to the F a n t a s y . As in the sec o n d movement, the
b e g i n n i n g theme ou tl i n e s a m e l o d y from familiar materia l
but ends differently. This "new" c o n v ol ute d idea, together
with T heme A-1 and T h eme A - 2 components, represents Theme
C.
Th e first n ot e of T h e m e C is h a r m oni zed by a G -sharp
half-di mi nis he d n i nth chord; the end, at measure 161, by
a C - s h a r p Major a n d D7 (a hal f - s t e p apart) and, B M ajor
and B - f l a t 7 (a h a l f - s t e p apart) harmonies. The clarinets
and bassoons h a r m o n i z e T h e m e C as D -sh a r p Major, C- sh arp
9, D -sh a r p 9, an d C - s h a r p 9 (measure 169). This cl early
underscores Crest on' s p a n t o n a l harmonic language w h i ch
utilizes a variety of h a r m o n i e s that h ighlight the
su c c e s s i o n of chord s (as o p p o s e d to the progression).
Rhythmic v i t a l i t y p r e v a i l s in this movement, since
C r e s t o n supplies m a n y v a r i o u s rhythmic patterns w i t h i n
the du ple meter. In m e a s u r e s 164 to 167, the p izzicato
strings have four 3/8 m e t e r patterns w h i l e the piano,
basso on s and brass m a i n t a i n a pattern that conforms to
the 2/4 meter. A pa tt e r n in the piano a n d woodwinds
(Example 23, me as ure s 171 and 172) creates the following
c o n s e cut iv e meters: 3/8, 3/8 an d 2/8. This rhythmic
69
idea— an e x a m p l e of the Fifth R h yth mic S t r u c t u r e — is d e r i v e d
from the first part of T h e m e C w h i c h uses a 3 + 3 + 2
pa ttern in s i x t e e n t h notes (Example 22, me as u r e 160).
171
m1
r
Example 23. P au l Creston, Fantasy for Piano and

O r c h e s t r a , m e a s u r e s 171 and 172. C o pyr ig ht §1972 by G.
Schirmer, Inc. (ASCAP) International C o py rig ht Secured.
All Rights Re served. Repri nt ed by Permission.
Theme C is s ta t e d in augm en tat ion (Example 24, m ea sur es
173-175) in tutti. The key of this moveme nt is e s t a b l ish ed
here as D Major, the same key as the opening movement.
It is r e i n f orc ed by an enharmonic B - f l a t 7 ch ord similar
to that found in the o pe n i n g measure of the Fa nt a s y (Example
1), but blurred somewha t by the "F-natural" in the
orchestral bass line at measures 175 an d 176.
70
----
( r.o p e d a l )
T u tti
II V
E x a m p l e 24. Paul Creston, F a n t a s y for Piano and

O r c h e s t r a , measures 173-176. Co p y r i g h t @1972 by G.
Schirmer, Inc. (ASCAP) I n t e r n a t i o n a l C o pyr ig ht Secured.
All R ig h t s Reserved. R e p r i n t e d by Permission.
The key of D Major, however, is s hor t- liv ed in this
movement. Creston o n c e r e m a r k e d that he avo ide d "remaining

12
in one or two keys for even o n e or two measures." Th e
har m o n y of G 1 1 in the clarinets, oboes and piano (Example
25, mea s u r e 179) resolve s to a C M a j o r chord in the strings
and piano the following measure. Numerous "white key"
or pa n d i a t o n i c first i n v e r s i o n triads prevail. This begins
a series of ant ip hon al e x ch an ges in the o r c hes tra b etw e e n
piz z i c a t o strings /wo odw in ds a n d the brass.
The trumpets an d horns r e l i e v e the strings and
cla rin et s (measure 181) with T h e m e A-1 in sequence u s in g
RM-1. The brass e m p l o y a v a r i e t y of pla ni ng chords: a
D-f lat 9 and C9; and, an A - f l a t 9 and G9, all harmonies
71
w h ich are a h a l f - s t e p apart s i m i l a r to the opening T h e m e
C statement (Example 22).
The s tr i n g s and woodw in ds cou nte r (Example 25, m easure
183) stating Theme C in the ke y of A Major, the d o m i n a n t
of the tonic key. T h e brass, w i t h the a d d i t i o n of the
xylophone, interr upt a g a i n (measure 185) w i t h planing,
ascending m a j o r - s e v e n t h chords. The strings answer (measure
187) with mat e r i a l w h i c h foresha dow s the e n s u i n g ostinato.
The brass e n t e r one l as t time, however, w i t h more
ma j o r - s e v e n t h chords c u l m i n a t i n g in a tutti (measure 190)
with a sce n d i n g h a rm on ies of A Major-7, B - f l a t Major-7,
C-f lat Major-7, and C M a j o r (all half-steps apart).
Th ro ughout this b r i l l i a n t orchestration, the piano
accompanies w i t h simple, broken chords.
An o s t i n a t o is i nt r o d u c e d b y the strings (Example
26, measures 197-199) w h i c h c o n fig ure s T h e m e C to r h yth mic
patterns u s i n g a l t e r n a t i n g 3/8 a n d 2/8 meters. This
orchestral ostinato, w h i c h repeats eleven times, is in a
new key of D - f l a t Major. This k e y is a f f i r m e d by the
frequent use of an E - f l a t 9 w h i c h is the seco nda ry d o mi nan t
of the dominant, A - f l a t Major-7 (containing a fourth a n d
a raised fifth), and b y a G-Flat 7 (the subdominant).
The piano, which thus far ha s assumed o n l y a min i m a l
role in the movement, enters w i t h the m elo d y in m easure
198. Three m eas ur es later, the r h yt hmi c patter ns in the
right hand of the p i an o part d i f f e r from e i t h e r the
72
JL
usol
Cl.
OS.-*. •*
Cl.."
Sir.
ir<
.L H .
7JL
i sff
S tr.
S tr.
TpuH n. T u tti
liH 7 T
II< r 7
'* rjs £t
V- rP
bLJ £ 7 7
t- —
E x ample 25. Paul Creston, Fa n t a s y for Piano and

O r c h e s t r a , m e a s u r e s 179-191. C o p y r i g h t @1972 by G.
Schirmer, Inc. (ASCAP) Int er national C o py ri ght Secured.
All Rights Reserved. R e p r i n t e d by P er m i s s i o n
73
M.
II
12001
ii
E xample 26. Paul Creston, Fa nt asy for Pi ano and

O r c h e s t r a , me a s u r e s 198-203. C o p y r i g h t @1972 by G.
Schirmer, Inc. (ASCAP) I n t ern ati on al C o py rig ht Secured.
74
o r c h e s t r a l o s t i n a t o or the piano's l e ft -ha nd accompan ime nt,
w h i c h is c o n s i s t e n t l y in 3/8.
From measures 200 to 203, the r i g h t - h a n d p a t t e r n co uld
be v i e w e d as u s i n g 2/8, 3/8 a n d 8/8 meters. T h is free
use of me te r s is w h a t C r e s t o n referred to as the T h i r d
R h y t h m i c Structure. Also, in this section, the p iano uses
the c o n v u l u t e d p o r t i o n of T h e m e C in i n v ers ion (measures
203-204). This s egment of T h e m e C had p r e v i o u s l y been
c h a r a c t e r i z e d by a d e s c e n d i n g third followe d by a rising
s e co n d (Example 22, mea s u r e 161).
The onl y r h y t h m i c a g r e e m e n t between the o r c h e s t r a
and piano, from me a s u r e s 198 to 235, is the a l i g n m e n t of
the o r c h e s t r a l o s t i n a t o a n d the left-hand a c c o m p a n i m e n t
on the first b ea t e very three measures. What o c c u r s
b e t w e e n this a l i g n m e n t is a fascin ati ng j u x t a p o s i t i o n
of accents. W h e n the lef t - h a n d acc omp animent f i n a l l y adopts
a m e t r i c 2/4 p a t t e r n (Example 27), the right h a n d
con tin ue s w i th free patterns of 3/4, 5/4 and 3/4.
Therefore, t aki n g into a c c o u n t the orch es tra l ostinato,
the text ure here is in three layers: two in the p i an o and
on e in the orchestra.
75
7JL
II
II
<T
Example 27. Paul Creston, Fa nta sy for Piano a n d _

O r c h e s t r a , measures 205-208. C o p y r i g h t @1972 by^G.
Schirmer, Inc. (ASCAP) I nte rn a t i o n a l Copyri gh t Secured.
All Rights Reserved. Rep r i n t e d by Permission.
Measures 212 to 219 are a vi rt u a l repeat of measures
197 to 204, exc ep t t hat the t on al ity has been tr ansposed
up one-half step to D Major, the tonic key of this movement
and, e n h a r m o n i c a l l y , the n e a p o l i t a n of the D - f l a t ostinato.
However, this key s u d d e n l y shifts to C Major via a G7 (a
subdominant se venth in the key of D) at m easure 220
76
(Example 28). At this point, the melody in the right han d
of the p ia no becomes mo r e florid wi t h longer s i x t e e nt h-n ot e
patterns.
ii i 'Si's
M. 230J
[230!
II
Example 28. Paul Creston, F a n ta sy for Pi ano and

O r c h e s t r a , m e a s u r e s 220-231. C o p y r i g h t §1972 by G.
Schirmer, Inc. (ASCAP) I n t e r nat ion al C op y r i g h t Secured.
All Rights Re served. R ep r i n t e d by Permission.
77
T h e key of C M a j o r is r e n d e r e d u nst abl e by the use
of the Ly d i a n m o d e h a r m o n i z e d as an F- sh a r p 7 and b y the
dominant ninth h a r m o n y p r e s e n t e d as an augme nt ed c h o r d
(measure 221). T his i n s t a b i l i t y causes the o s t i n a t o to
revert to the o r i g n a l key of D - f l a t (the n e a p ol ita n of
C Major) at m e a s u r e 225. Two measures later, however,
the key of C M a j o r returns, followed by a return to the
key of D-flat M a j o r in m e a s u r e 231. Th ro ughout t h ese sudden
key shifts, the p i an o wri t i n g grows inc reasingly bri l l i a n t
with the right h a n d pl ay i n g c a s ca din g scales that transverse
the keyboard.
T h e c o n f l i c t b e t w e e n the two key areas is not r es olv ed
until a t e n - m e a s u r e or c h e s t r a l tutti begins on an A Major-7
harmony (Example 29, me a s u r e 235). This key is a r r i v e d
Example 29. Pa ul Creston, F a n t a s y for Piano and

O r c h e s t r a , m e a s u r e s 234-237. C o py rig ht @1972 by G.
Schirmer, Inc. (ASCAP) In te rnational C opyright Secured.
at v i a sliding c h r o m a t i c i s m w h i c h uses the "A-flat" and
"C" of the A - F l a t 7 chord in the p r e c e d i n g measure as
l e a d i n g tones to the A M a j o r - 7 harmony. Also, the "A-flat
is r e t a i n e d in t h e upper v o i c e as the seventh of the new
harmony (e n h a r m o n i c a l l y spelled). This orchestral tutti
co n t i n u e s in m u c h the same s t yle the o s t i n a t o section,
where T h e m e C was s u b j e c t e d to vari ou s rhythmic
permutations.
T h e piano int e r r u p t s the tutti (Example 30, m e a s u r e
246) w i t h Theme A-1 in full, f o r t i s s i m o chords. Th e
d o w n b e a t of m e a s u r e 246 is a D - f l a t M a j o r chord, in bo th
the p i a n o and orchestra, p r e c e d e d by an F-sharp 9 chord.
This u s e of the e n h a r m o n i c s u b d o m i n a n t is the means by
which C r e s t o n e s t a b l i s h e s D - f l a t M a j o r as the key of this
section.
T h e violins a n d oboes p e r s i s t w i t h a rhythmic pat te rn
of 3/8, 3/8 and 2/8 (measure 248) and are joined by the
flutes a n d p ic co los two m e a s u r e s later. The piano a g a i n
rejects this p a t t e r n (measure 252) by en t e r i n g with its
fo r t i s s i m o chords, in the k e y of E Major, an enharmonic
chr o m a t i c med i a n t o f the p r e v i o u s D - F l a t statement.
79
E x a m p l e 30. Paul Creston, Fan t a s y for Piano and

Orchestra, measur es 244-255. C o py rig ht @1972 by G.
Schirmer, Inc. (ASCAP) I n te rn ati on al C op y r i g h t Secured.
80
Th e strings a n d oboes b egin a sixteenth-note s c a le
passage outlining a D9 chord (Example 31, measures 260-266)
culmina ti ng when the piano announces triumphant, full chords
over a tremelo in t h e orchestra. These triple fortissimo
chords, which d r iv e this m o v e m e n t to a climax, o utl i n e
Theme A-1 in A Major. This key is c la r i f i e d by the
previous D9 ha rmony a n d by the E augmen te d chords (measures
I 260I
*> V
[260]
--- ---
increase
I A—
•2«5|
- i l I ___ ,i£*
Example 31. Paul Creston, F a n t a s y for P i an o and

O r c h e s t r a , measures 260-268. Copyright @1972 by G.
Schirmer, Inc. (ASCAP) International C o pyr ig ht Secured.
81
266 a n d 267) which a c t as dominant. The E Augme nte d chords
(spelled with a "c" as root) a l s o serve a pivotal r o l e
w i t h i n this passage as a s e c o n d a r y dominant for an F Ma jor
chord.
T h e chords in the piano at measures 266 to 269 resem ble
a p a s s a g e scored for a n o r c h e s t r a l tutti in the f i r s t
movement (Example 10, m e as ure s 62-65). The follo wi ng
o r c h e s t r a l bridge, u s i n g unison intervals of a third
(Example 32, measures 274-277), also resembles the
c o n c l u s i o n of the f i r s t m o v e m e n t (Example 11, m e a s u r e s
69-74). The s i m i l a r i t y of the final forty m e as ure s of
this m o v e m e n t to the c o r r e s p o n d i n g ending of the f i r s t
m o v e m e n t is a great s t r u c t u r a l strength of the work.
(j K , ■- -
------- -— ------------ -
* * j ' '
i i
/ J --------- ---- C--- J----------M - I------ m ------ m -----1
M— Z— *--------- --------1 1 1’ «— --------- *
•J —
ff *#*
U ---------------- — 3 =.
----- :
--- p ----------
'J I r sv ^ ^ j f if r ** [
! ff
----- =i— ----- :
— --------- 1
; ------------ ---- 7--- hi— -- r
—1 / — 2-+- ff— —
* *7 * ^ ^ t *•
E x a m p l e 32. Paul Creston , F a n t a s y for Piano and

O r c h e s t r a , measures 274-277. C op y r i g h t @1972 by G.
S c h i r m e r , Inc. (ASCAP) I n t er nat ion al Copyright Secured.
All Ri gh t s Reserved. R e p r i n t e d by Permission.
82
T h e thir d movement has a c t e d as a recapitulation of the
fi rs t movement. By c r e a t i n g a cadence in A Major, however,
the o p e n i n g key of D M a j o r is yet to be achieved. A
s c e n a r i o is created where the fourth movemen t can act as
a coda, guiding the piece b a c k to its ope ni ng harmony of
D Major.
M o v e m e n t IV
T h e fourth m ove men t is a mar ch- lik e and in 3/4 meter.
T h e tempo is m ark ed "a l i t t l e slower," (the quarter note
e q ual s 126-132). The r h y t h m i c compl ex iti es of previous
m o v e m e n t s are abandoned in f a v o r of a march-like e mph as is
of e v e r y beat. This beat, however, is subdivided in m a n y
ways. The opening, f o r t y - m e a s u r e or chestral tutti
p r o m i n e n t l y features the d o t t e d e i g h t h- no te figure, which
m a d e its first appearance as RM-2 (Example 1, measure 4).
O t h e r subdivisions include e i g h t h notes, eighth-note
t r iplets and an e ig hth n ote fo llo we d by two sixteenths
(Example 33).
The dotted e i g h t h - n o t e f i gu re converts Theme A-1 and
T h e m e A-2 into a n ew theme (Theme D) wh i c h sounds r e m a r k a b l y
fresh, totally tra nsf o r m i n g the source. The horns first
a n n o u n c e Theme D o n the p i t c h level of "A." The score
is i n d i c a t e d "marked" and " p i a n o . " The second p r e s e n t a t i o n
of Th e m e D is given to the t r u m p e t s (measure 286) at the
pitch level of "F."
83
The trumpets use the c o n c l u d i n g fragment of Theme D in
a sequence one s te p lower (measure 290).
m a rk e d
a
t) Tpt.
£ J j t j j S S .---s r* f
i f * * * f j ' L J i
II< i i
j k. - s... - K - , v-------- S ‘‘— j . j ) , N »
\>TT ' ? •+ z~r m :■ +

•r
(5901
l i
•» its l I * * T ’ ’ " *
II<
v. N . ?> > , -------,--------------*-------- k------- — k------- h ____ _________
Cl. I
J.r- * r
4 » * $ • * * * & - r ~ — ff ~ — 1 -- * - #
|..p p - S - s
* ! ‘“ 1
I— j
P P Str. pi n . ,
S k i !
^ — r = a . = ^ ' t N
a-» tfT ft.

O r c h e s t r a , me asu res 282-297. C o pyr ig ht @ 1 9 7 2 by G.
Schirmer, Inc. (ASCAP) In ternational C op y r i g h t Secured.
84
A four-measure brid ge (measures 292-296), utilizes
planing first i n v e r s i o n triads of v ar i o u s major a n d m i n o r
harmonies which m o v e in contrary m oti o n to octaves in the
lower instruments. T h e significance of the sixth c h o r d
sonority in this m o v e m e n t will become m u c h more a p p a r e n t
w h e n the piano e n t e r s after this tutti. Finally, this
opening section f i ni she s with a third p r e s e n t a t i o n of Theme
D by the clarinets (measure 296), on the pitch l e v e l of
"D," related to the seco nd statement by a chroma ti c mediant.
A three-voice fughetta begins in the strings, in
measure 302 (Example 34). Each entry of the fu gh e t t a is
a truncated s ta t e m e n t of Theme D s e p a r a t e d by one measure.
The violas enter on the pitch of "B" in measure 302 (a
chromatic me diant of the previous c l a r i n e t p r e s e n t a t i o n
of theme D); the f irst violins enter a f ifth highe r ("F#")
in measure 303; and the second violins e n t e r an ot h e r
enharmonic fifth h i g h e r ("D-Flat") in m e a s u r e 304. There
is no distinct c o u n t e r s u b j e c t in the fughetta, although
the ascending steps in the viola (measure 303) a p p e a r a gain
in measures 305 and 306. A sequence (measures 306-307),
leads to a fourth a n d final entry of the fughetta in the
cellos on "G."
85
VI. I
305
mp
V ia .
rrrp
II
Cellos
E x a m p l e 34. Paul Creston, F a n t a s y for Piano a n d

O r c h e s t r a , m e a s u r e s 302-309. C o p y r i g h t §1972 b y G.
Schirmer, Inc. (ASCAP) I n t e r n a t i o n a l C op y r i g h t Secured.
All R i g h t s Reserved. R e p r i n t e d by P e r m i s s i o n
B e g i n n i n g in m e a s u r e 310 (Example 35), the r hy th m
in the o r c h e s t r a b e c o m e s m o r e a n i m a t e d w it h the p itc h level
of the m e l o d i c m a t e r i a l r i s i n g and f a l l i n g in "waves."
Creston's free h a r m o n i c p a l l a t e is r e a d i l y i l l u s t r a t e d
in m e a s u r e 311. T h e m a j o r - m i n o r s e v e n t h chords in the
first set of tr ipl ets do n o t r e s o l v e in a tradit ion al
manner. Also, the chor ds w i t h i n b ea t two repre sen t
am big uou s w h o l e - t o n e ha rm oni es. C r e s t o n m a int ai ns unity,
however, by u s i n g T h e m e A - 2 a n d RM-2, a n d in this instance,
by o u t l i n i n g the m e l o d i c p i t c h e s f o u n d in the first m o v e m e n t
(Example 1, m e a s u r e 5).
86
a lw a y s staccato

O r c h e s t r a , measu res 310-314. C o p y r i g h t @1972 by G.
Schirmer, Inc. (ASCAP) I n t e r n a t i o n a l Copyright Secured.
All Rights Reserved. R e p r i n t e d b y Permission.
Tension envelops the tutti (Example 36, measure 315)
w h e n the m el o d y g r a d u a l l y begins to ascend from "A-flat-"
a i d e d by a cresce ndo ( marked "increase"). This tension
is r ei nforced by more a b s t r a c t dissonances: a G7 chord
w i t h a minor ni nth (measure 315) a n d a G split-third c h or d
(measure 316). Also, t r i p l e t eighth-notes, w h i c h made
their a pp earance in m e a s u r e 311 (Example 35), solely
predominate from m ea s u r e s 317 to 322. This se ction r eaches
a clim ax (measure 318) w i t h a "C-sharp," after which the
tri ple t pattern dominates. B e g i n n i n g with a "B" in the
vi ol ins on the second b e a t of m e a s u r e 318, eac h succesive
beat outlines a pitch of a G-sharp diminished seventh chord.
This creates m u c h harmonic uncertainty as to w h i ch h a r m o n y
this passage w ill chose to resolve.
increase
— — —
9 TT
xij j : ^ J 5
T T : * -jr
in c re a s e
0 - -0 -0 0- 0 -m- 0
Example 36. Paul Creston, Fantasy for Piano a n d __

O r c h e s t r a , measure s 315-322. Copyright @1972 by g T
Schirmer, Inc. (ASCAP) I nternational Copyright Secured.
All rights Reserved. R e p r i n t e d by Permission.
The piano enters this movement in measure 323 (Example
37). As in previ ou s movements (Examples 7 and 28), C r e s t o n
employs a sudden harmonic shift to C Major, w i t h its
concomitant first inversion triads, to provide a br i l l i a n t
contrast. This shift, however, is much more su b s t a n t i a l
in length and therefore suggests greater significance.
88
A s i d e from o n l y one L y d i a n r ef e r e n c e (an "F-sharp" at
m e a s ure 326) in the piano, there a r e no acc ide nt als from
measures 323 to 330. This is a full embrace of
p a ndi ato ni cis m by Creston.
m a rk e d
• 2 . '"
= 3251
E x a m pl e 37. Paul Creston, F a n t as y for Piano and

O r c h e s t r a , me asu res 323-326. C op y r i g h t @1972 by G.
Schirmer, Inc. (ASCAP) I n t e r n a t i o n a l C o py ri ght Secured.
In this section, t he piano presents T h e m e D in
al te rna tin g d o t t e d e i g h t h - n o t e s and ei gh th- not e triplets.
T h e strings p r o v i d e a c o u n t e r melody, one that o c c a s i o n a l l y
uses eighth no tes when t ri ple ts are o cc ur rin g in the piano.
A sustained trill in the flute adds to the mou nt ing tension.
The goal (returning the p i e c e to the "home key" of D Major)
is partially a c h i e v e d t h r o u g h a s eq uen ce w h i c h creates
a c limax on a D Minor c h o r d (Example 38, m e a sur e 339).
89
T h r o u g h o u t this section, the piano adopts continuous
first i nv e r s i o n chords in the ri ght hand w i t h octaves in
the left h a n d o f t e n m o v i n g in c o n t r a r y motion. Chromaticism
is introduced (measure 335), w hich produces split root
■r f » ; f t * t * t
tr— :---- :— :-----:---- :_______ :______
— as~ 'S.--------------- a.
Exam pl e 38. Paul Creston, F antasy for Piano and

O r c h e s t r a , me as u r e s 333-339. Cop y r i g h t §1972 by G.
Schirmer, Inc. (ASCAP) Inter nat ion al Co p y r i g h t Secured.
90
harmonic dissonances such as the "G-flat" in the bass
aga ins t a G M a j o r first inversion triad.
Similar m o t i o n b etw e e n the h a nds commences (Example
39, measure 339) when first inversion triads in the right
hand are joined with secon d inversion triads in the left

14
hand. This creates continual, p l a n i n g seventh harmonies,
w h ic h ascend an d descend acco rdi ng to the melodic contours
of Th eme D. Concurrently, the o r c h e s t r a adopts an
eight-measure ostinato w h i c h outlines a "D Minor" triad.
This tonality is somewhat blurred, however, by the Dorian
"B" and "C" in the piano.
[340|
II
Ex am ple 39. Paul Creston, Fantasy fo r Piano and

O r c h e s t r a , measure s 339-342. C o p yr ig ht @1972 by G.
Schirmer, Inc. (ASCAP) I nte rn a t i o n a l Copyright Secured.
91
Through mo d e mixture, the k e y of D Minor b ecomes D
Major (Example 40, m e a s u r e 349), wh er e a th ir teen-measure
or ch estral tutti begins. The o p e n i n g of the tutti presents
T h e m e D in its en ti r e t y as in the first three measures
of this mov e m e n t (Example 22).
8-
ii
Ex a mpl e 40. P aul Creston, F a n t as y for Piano and

O r c h e s t r a , me as u r e s 348-355. Cop y r i g h t @1972 by G.
Schirmer, Inc. (ASCAP) In te r n a t i o n a l Copyright Secured.
92
A b r id ge (Example 40, m e a s u r e s 353-354) to a s e c o n d
s t a t e m e n t of T h e m e D c ont a i n s pa ntonal chords th a t are
d i c t a t e d by the r oot m o v e m e n t in the l o w e r ins tru men ts :
F - s h a r p 7 (chromatic m e d i a n t of D-sharp), D - s ha rp 7
(c hr omatic m e d i a n t of F-sharp), c-sharp 7, and a D M a j o r
sharp-11 over a C Maj or chord. The latter, a dissonant
polychord, pro vides a V-I v o i c e l e a d i n g in the b a s s an d
a l e a d i n g - t o n e in the m e l o d y to r e s o l v e smoothly to an
F M a j o r - 7 ch ord (measure 355).
T h e co n c l u s i o n of the tutti (Example 41, m e a s u r e s
355-361), presents Theme D o n the m e l o d i c pitch le v e l of
"A" (dominant in the home k e y of D). It is h a r m o n i z e d
by c h r o m a t i c mediants: F Major-7 (measure 355), D9 w i t h
a sharp-11 (measure 356), B7 (measure 357), and an
e n h a r m o n i c G - s h a r p 7 mea sur e 358). At measure 359 an
e n h a r m o n i c F7 is an e n h a r m o n i c third l o w e r than the pr ev i o u s
measure. The bass line d e s c e n d s c h r o m a t i c a l l y t h r o u g h o u t
a d d i n g ha rmo nic color. This tutti c u l m i n a t e s w i t h an
u n c o n v e n t i o n a l caden ce where a n F7 a u g m e n t e d w ith a s h a r p - 11
re so lve s to a D6 via the "C-sharp" (the final n o t e of
m e a s u r e 361). In this resolution, the "F" also a c t s as
lea di ng tone, the "D-sharp" as a l e a n i n g tone, a n d the
"A" as a c om mon tone betw een bo t h harmonies.
Ex am p l e 41. Paul Creston, F a n t a s y for P i a n o and
O r c h e s t r a , measures 355-362. C o p y r i g h t @1972 by G.
The final statement of T h e m e D in this movement
(Example 42, measure 362) is s t a t e d by the violins, flute s
and piccolos. The m e l o d y is s u b j e c t e d to a u g m e n t a t i o n a n d
he mi ola allowin g the Theme A-1 comp on ent to sound as a
triumphant r e s t a t eme nt of the o p e n i n g movement.
94
E x a m p l e 42. Paul Creston, F a n t as y for Pia no and

O r c h e s t r a , m easures 362-365. Copyright @1972 by G.
Schirmer, Inc. (ASCAP) International C o py ri ght Secured.
All Rights Reserved. Rep r i n t e d by Permission.
The piano a c c o m p a n i e s this m e l o d y with b ro ke n c h or ds whose
high es t pitch also outlines the A-1 co m p o n e n t of Th eme
D. This is a n o t h e r example of Creston's frugal use of
th ematic material: the acc ompaniment is derived fro m the
melody. This c o n c e p t was s imilarly a p p l i e d by S a m u e l Barber
(1910-1981) in the second mov em ent of his Piano C o n c e r t o .
The F a n t a s y shows an affinity, too, to the Serge P r ok of iev
(1891-1953) Piano Concerto No. 1 (another work w i t h o u t
breaks between movements), wh ere a grand, final stat em ent
of the m ain theme a lso serves to drive the piece to a
sa ti sf a c t o r y conclusion.
95
T h e hemio la of the T h e m e A-1 component is re c o n c i l e d
(measure 365) whe n s t e p w i s e movement, e n c o m p a s s i n g a third,
co nf orm s to the 3/4 meter. T h e s e whole steps, de riv ed
from the initial p r e s e n t a t i o n of The me A-2 (Example 1,
m e a s u r e 2), outline the first th re e notes of a n e a p ol it an
scale in the key of D Major. T h e y are h a r m o n i z e d by a
G a u g m e n t e d 9 w ith a sharp-11, s i m i l a r to the e m b e l l i s h e d
plagal cadence at the e n d of the first m o v e m e n t (Example
9, m eas ur es 61-62) and the third movement (Example 31,
me as ure s 265-266).
The or c h e s t r a co nc l u d e s this movement a n d the F a n tas y
fea t u r i n g s ustained h a l f - d i m i n i s h e d en ha rmo ni c ninth chords
on the enh arm on ic n e a p o l i t a n (Example 43, m e a s u r e 370).
Th e s e chords, which r o u g h l y o u t l i n e Theme D, emplo y hemiola
(measures 372-373) when three h al f - n o t e values occur in
the orchestra. A l t e r n a t i n g s ixt ee nth-note oc tav es in the
piano (which outline the same harmony) b r i l l i a n t l y embel lis h
the s us tai ned chords in the orchestra.
96

O r c h e s t r a , m eas ur es 370-376. Co p y r i g h t §1972 by G.
Schirmer, Inc. (ASCAP) I n t e r n a t i o n a l C op y r i g h t Secured.
A l l Righ ts Reserved. R e p r i n t e d by Permission.
The piano c o nc lu des this m o v e m e n t with an a s c e n d i n g
s c a l e o u tl ini ng a h a l f - d i m i n i s h e d ch ord (Example 44).
F i r s t used in m e a s u r e 370 (Example 43), this uni qu e scale
is plac ed in an o s s i a with a l t e r n a t i n g octaves.
97
b./ 1 ' frii > ,,,.%mt• * * * + - _i

mp increase
* ___, * ,
---
increase_
— m / . .>> 1
**5?-'” ~ 1
■rm*— * ■ ----- . - ■ |
h o ld back very mack
■ 00
I
ffi
h o ld back
v e ry much
II
ffi
OptionalSolofrom 47HltoL3M1
[afsl
I ///
E x a m p l e 44. Paul Creston, Fantasy for Piano and

Orchestra, m eas ur es 378-383. Copyright §1972 by G.
Schirmer, Inc. (ASCAP) International Copyright Secured.
98
The final virtuosic flourish, pitted agai ns t an
orc he str al tremolo, terminates w i t h three final chords
in both the piano and orchestra. These c ho r d s are m a r k e d
triple forte and "hold b a c k very much" w h i c h serves to
un d ers co re that the const ant m o t i o n of this movement, and
indeed, the entire piece, is ceasing. Measure 381 (Example
44) has a enharmonic h a l f - d i m i n i s h e d n e a p o li tan with a
sharp-9 and a G9, which a g a i n serves as the penultimate
ch ord in a final plagal ca den ce resolving to a D Major
triad.
Summ ar y
The Fantasy is t hem at i c a l l y tightly constructed;
the entire work is genera ted from material found in the
first seven measures. C r e s t o n subjects this thematic
f r ugality to such effective o r c h es tra tio n a n d rhythmic
invention, however, one j.s a s t o n i s h e d by the immense
variety created. Furthermore, C r e s t o n utilizes every
"Rhythmic Structure" that he c odi fie d in his book,
Principles of R h y t h m .
The basic theme of the w o rk (Theme A) has been
ski llf ul ly transformed to adhere to the style of the four
sections, which are played w it h o u t pause (creating the
feel of a on e- movement w o r k ) . T he first s e c t i o n presents
a more spirited side; the secon d section s hows a slower,
lyrical side. A sherzo-like vein permeates the third
section; and, in the fourth section, the theme ad ap t s
ma r c h - l i k e rhythms which d r i v e the p i e c e to a s a t i s f y i n g
conclusion.
T h r o u g h o u t the F a n t a s y , Creston embrac es pantonality,
with its s t i m u l a t i n g and o f t e n unpre di cta bl e h a r m o n i e s
that a d d much color. Still, within the larger f r ame wor k
of the piece, t h er e is key structure; the F a n t a s y is in
the k e y of D Major. This c a n be s u p por ted by a m a j o r i t y
of the material e i t h e r b e i n g in the ke y of D or r ela ti ng
to it v ia Cr e s t o n ' s p r e d i l e c t i o n for the c h r o m a t i c mediant
Table 1 summarizes key areas, thematic d ev elo pme nt , and
general formal d e s i g n s of the F a n t a s y .
Table 1 , - -Stru c t u r e of Fa n t a s y , Up. 32
For.n General Key T h e m a t i c Usage
S e c t i o n (Movement) i; Uses The m e A ( c o n s t r u c t e d of 1-15 in 0 Major A - - d e v e l o p m e n t - -A - - b r i d g e

"Wi t h Spirit" The m e A-l a nd T h e m e A-2 16-61 d e v e l o p m e n t w i t h an u n p r e p a r e d
Components) shift to C M a j o r at m. 41
62-66 in 0 Major
67-74 b ridge
S e c t i o n (Movement) II: Uses The m e B (Theme A plus m. 75-76 in D M a jor T ransi t i o n - - A - - B - - A - - C - - A

"Lyr i c a l l y " three r ising steps) in. 77-86 t r a n s i t i o n e m p h a s i z i n g D - s h a r p
A l s o Uses T r a n s i t i o n a l T h e m e m. 87- 9 5 in U M a jor
(Theme A-1 and T h e m e A-2 m. 9 6 - 1 0 8 in B -flat Maj o r
plus "wispy" figure) m. 109-116 in B M a j o r
m. 117-134 q u a s i - d e v e l o p m e n t usi n g vari o u s
h a r m o n i e s including B-flat M a j o r
m. 1 35-159 in H 14ajor
Section (Movement) III: Uses T h em e C (Theme A plus m. 166-172 -mbiguous tonality A - - d e v e l o p m e n t (ostlnato)--
m. 173-178 in D M a j o r A (1 ike S e c t i o n I )- -
"Scherzo-like" c o n v o l u t e d figure)
m. 179-190 u n p r e p a r e d shift to C M a j o r b r i d g e (like S e c t i o n I)
m. 191-234 d e v e l o p m e n t with o s t i n a t o using
C Major, D-flat Major, a nd D M a j o r
in. 235 - 2 4 5 further d e v e l o p m e n t e m p h a s i n g
A Major
m. 246-280 in D -flat Major, E Major, and
A M a j o r (dominant of D Major)
S e c t i o n (Movement) IV: Uses T h e m e D (Tneme A-1 and m. 2B 1- 32 fughetta w i t h s t a t e m e n t s on

H llrt M Fu ghetta- -development -- A - -
"Ma r c h - l i k e " T h eme A-2 w i t h d o t t e d var ious pitch levels: "A," "F t U» coda
rhythms) "B," "F and " D - flat"
m. J 2 3 - 338 u n p r e p a r e d shift to c Major
( >andid tonic)
m. 339-343 in d m i nor (the first m i n o r key
area o * the piece)
m. 349-369 in D M a jor
in. 370- 38 1 e m p h a s i z e s D - S h a r p (p iece
cadenc.j s on U Major)
1 oo
CHAPTER 4
A STYLISTIC ANALYSIS OF THE CONCERTO
FOR PIANO AND ORCHES TRA , OPUS 43
Cre st on' s C on cer to for Piano a n d O rchestra was
co mpleted in J u n e of 1949, and p r e m i e r e d in the United
States the f ol l o w i n g year. The work is in three movements,
emplo yin g a t raditional fas t- s l o w - f a s t design. The form
within each of the movements is r e l a t i v e l y free, affirming
Creston's pr e f e r e n c e to "stick to the spirit of the
[concerto] form not the letter of i t . " 1 In the first
movem en t of this work, for example, C r e s t o n a dheres to
the s o n a t a - a l l e g r o concept of c o n t r a s t i n g themes but allows
key areas and thematic o r d er to vary.
None of the movements contain a cadenza. C reston
felt that the stoppi ng of motion, p a r t i c u l a r l y w it h fast
movements, was detrim ent al to the o ver a l l effect of a piece.
On ly in slow mo v e m e n t s did he believe cadenzas w e re more
appropr ia te (but he did not write one for this piano
c o n c e r t o . )^
Cres t o n c a t a g o r i z e d his piano con c e r t o as "difficult"
to play. A c c o r d i n g to pianist Howard Wells, "[his piano]
music is quite d i f f icu lt to play in the sense that Ravel
1 01
102
is difficult to pla y . . . it fits the k eyb oa rd v e r y well
. . . it's very w e l l - e n g i n e e r e d for the ha n d sh apes of
the keyboard."^ R e c a l l i n g C reston's early c areer as an
accompanist, Creston's son, Tim, remarked that his f ather
was such an e x c e l l e n t pianist he could have chose n that

4
specific field as a career. Creston's ke yb oar d skill
has aff ord ed this w o r k both pianistic qu al i t i e s a n d great
virtuosity.
Movement I
T h e first m o v e m e n t of the concerto uses an a b r i d g e d
sonata-allegro form. C o n t r a s t i n g themes are m uch in
evidence but the tr a d i t i o n a l d eve lo pme nt section has been
omitted in lieu of c o n s t a n t development of themes as they
are presented. D i s t i n c t r hyt hm ic motives (three o f which
are associated w i t h Them e A in the exposition) a l l o w for
many d e v e l o p m e n t a l p o s s i b i l i t e s .
The first m o v e m e n t is divi de d into two main sections:
an exposition a n d a recapitulation, the latter b e i n g an
intensification o f the exposition. The e x p o s i t i o n contains
143 measures; the r e c a p i t u l a t i o n is 158 measures long.
In order to a v o i d the q u a l i t y of squareness, this m o v e m e n t
concludes with a coda of thirty measures whi ch b e g i n s
similarly to p i a n o e n t r a n c e s in both the e x p o s i t i o n and
recapitulation, suggesting for a moment a third m a j o r
103
d i v i s i o n of the m ovement. T hat notion, however, is soon
v i t i a t e d by the c o n c e n t r a t e d and b r i ef nature of the ending.
Exposition
The e x p o s i t i o n can be di vi d e d into three main areas:
1. T h e m e A, 2. T r a n s i t i o n (introducing Theme B) and, 3.
T h e m e B. The T r a n s i t i o n introduces T h e m e B in q u a r t e r
notes and is r e l a t i v e l y short; the T h e m e B section contains
numero us s t a t e m e n t s of T h e m e B in half notes and is longer.
Theme A
Similar to the F a n t a s y , Cr es t o n beg ins the co n c e r t o
with an o r c h e s t r a tutti that introduces the main t h em e
(Theme A) and o t h e r m o t i v e s a p p e a r i n g throughout the
movement (Example 45). T h e m e A begins with disso na nt
eight h- not e t r i p l e t s in the orchestra. This rhythm, because
of its i m p or tan ce in the movement, is identified as a
rhyth mi c motive (RM-1). The triplets r esolve on b e a t one
of the first m e a s u r e w i t h a dissonant, F augmented chord
with a major seventh. T h e d i s son an t interval of a seventh
is clo s e l y i d e n t i f i e d w i t h T h eme A t h r o ugh ou t the piece.
A g a i n s t this harmon y, t h e lower o r c h es tr al instruments
play a d e s c e n d i n g p e r f e c t fifth. This descending interval
is the most d i s t i n g u i s h i n g c h a r a c t e r i s t i c of Theme A and
helps to e s t a b l i s h the k e y of the o p e n i n g tutti as c-sharp
minor.
104
RM-1
RM -2
j^ T h e me A
Exa m p l e 45. Paul Creston, Concerto for Piano a n d O r c h e s t r a ,

m o ve m e n t I, m ea s u r e s 1-12. Reprinted by p e r m i s s i o n of
the C re s t o n family.
105
In measures 3-4, Cr es t o n employs in the or c h e s t r a
three sets of qu art er - n o t e triplets (RM-2) which rep r e s e n t
two harmonic tones and a lo wered neighbor-tone. Also,
a f t e r two add iti ona l disso na nt Theme A statements, si xteenth
notes (RM-3) are in troduced at measures 7 and 9-10. Both
of these rhythmic motives s e r ve as transitional devices.
An A M ajor-7 chord (which contains a c-sharp m i nor
triad) follows in m easure 11 and serves to reduce the
t ension of the previous passage. Rep e a t e d in staccato
q u a r t e r notes in the brass, the chord is a cco mp ani ed by
a n o t h e r statement of Theme A in the low strings (using
the identical pitches of the first two measures).
A calmer m o o d is sugge st ed by a series of r e l a t i v e l y
UH.
i p y w m = = )
n r - - - ......... - ... I
' pp
pp
# — 4 —
— %-------y 9— y— b - f - — i — - 9 ----- a — j
m r p T T
E x a m p l e 46. Paul Creston, pi ano concerto, mvt. I, m ea sur es

16-22. R e pr int ed by Permission.
106
simple chords a n n o u n c e d in the woodw ing s o v er an "A" pedal
in the timpani a n d l owe r str i n g s (Example 46). These
half-note chords, w h i c h i ncl ud e E Major, c- sharp minor,
f-sharp m i n o r and B Major, a n t i c i p a t e the at m o s p h e r e and
clear harmo ni c p r o g r e s s i o n s o f the forthcom ing T h e m e B
section. The o p e n i n g o rc h e s t r a l tutti conclu de s w i t h an
ascending me lodic l ine in the woodwinds (derived from
measures 18-19, but h a r m o n i z e d by w h o l e - t o n e harmonies).
A final E Ma jor c h o r d is s u s t a i n e d by an "E" o sti na to in
the t i m p a n i .
The piano e n t e r s the c o n c e r t o at m e a s u r e 23 ( E x a m p l e 47.
with the RM-1 c o m p o n e n t of T h e m e A. E M a j o r is rejected
in favor of the o p e n i n g key, c - s h a r p minor. A dominant
seventh affirms the n e w key in measure 24, but the
descending pe rfect f i f t h so c o n s p i c u o u s l y as s o c i a t e d with
Theme A, is avoided. Immediately, transitional mater ial
(utilizing both RM-1 and RM-2) appears w h i c h suggests the
instability of key. For example, ut i l i z i n g RM-2, the piano
states vague h a r m o n i e s such as an e nh a r m o n i c E-sharp 7
with a "C-sharp," a "D-sharp" a n d an "F-sharp" (the latter
arpeggi at ed in the l ef t hand a t measure 26). In the
following measure, the r e s o l v i n g harmony is in a sur prising
tri-tone r e l a t i o n s h i p — a B9 in second inversion. Rhythmic
instability also is g e n e r a t e d in the p iano when R M - 1 , in
triplet eig h t h notes in the r i g h t hand, is j u x tap ose d with
eighth notes in the left hand (measures 30-31).
107
23
JL
30J
E x a m p l e 47. Paul Creston, p i a n o concerto, mvt. I, measures

23-32. R e p r i n t e d by Permission.
108
T r a n s i t i o n (Introducing T h e m e B)
The first hi n t of a c o n t r a s t i n g theme, T h e m e B, occurs
in the piano at the end of the Theme A section (Example
48, measures 35-36). The h i g h point of the phrase, a
"D-sharp," functions as a s h a r p - 11 of an A Ma jo r harmony.
As in the F a n t a s y , Creston o f t e n concludes sections with
the r a ise d e lev e n t h p r o m i n e n t l y fe at u r e d (See E x a m pl e 21).
Theme B
Example 48. Paul Creston, p i a n o concerto, mvt. I, measures

35-39. Reprinted by Permission.
109
The first full statement of T h e m e B is in the cellos
and basses a c c o m p a n i e d by continuous e i g h t h - n o t e chords
in interlocking intervals in the p i ano (measures 37-39).
Mar ke d "poco piu mosso," T hem e B beg ins with t h re e pitches
in a scending c o n j u n c t motion followed by a leap of a fourth,
the theme's most d i s t i n g u i s h i n g characteristic. The fourth,
wh ich could be v i e w e d as an inversion of the d o w n w a r d leap
of the fifth of T h e m e A, resolves d o w n w a r d to "f ill in"
the l e a p . ’’ The m e l o d i c leaps of both themes are o f t e n
sub je cte d to i nte rv all ic e x pa ns ion thr ou gho ut the movement.
Th eme B concludes w i t h a m o dif ie d s equ en ce of the previous
me asure in me a s u r e 39.
A transition follows in which them es and m o t i v e s are
now employed in a ve ry free manner. Fo r example: Th eme
A enters u n e x p e c t e d l y in the strings in measures 40-41
(Example 49). In measures 46-47, T h e me B is j o i n e d by
an eighth-note p a t t e r n which uses the n e i g h b o r - t o n e idea
of RM-2. A 3 + 3 + 2 p attern in m eas u r e s 48-49 (derived
from the sequence portion of Theme B in Example 4, measure
39) outlines c ho r d s which recall the key of c - s h a r p minor:
G-s har p minor-9 (dominant), D-sharp 7 (secondary dominant),
and B7 (dominant of the relati ve major).
Exa mpl e 49. Paul Creston, p i a no concerto, mvt. I,
111
Themes A an d B are in placed in o p p o s i t i o n in the
tr an sit ion (Example 50, measures 53-61). T h e woodwinds
and strings a nn o u n c e T h e m e A in d i sso na nt s eve nt hs to w hich
the piano r es p o n d s in solo i n s is tin g upon T h e m e B (with
its u pw a r d leap e x p a n d e d to an o c t a v e ) . In measures 57-58,
-tr -■ r \ ■ T _7*r I T -r Tr- ■+-
r
TP
=----------------- # 5 ?
ww
&
Tf
i
I
Ww
Example 50. Paul Creston, piano concerto, mvt. I, measures

112
an o rc h e s t r a l sta t e m e n t of T hem e A is acc o m p a n i e d by the
piano f illing in the harmonies with h a r m o n i c fourths
c o n f i g u r e d to RM-2. At me asu re 59, t h e piano accedes to
the or c h e s t r a ' s insistence on Theme A, but presents its
own m o r e lyrical v e r s i o n w h ich employs a phrase extension
after the d e s c e n d i n g leap.
In E xample 51, continual a ll u s i o n s to Theme A in both
piano an d o r c h e s t r a eventually yield to RM-2 (in duple
TSlhr.t.
IP W if
Example 51. Paul Creston, pi ano concerto, mvt. If measures
68-74. R e pr int ed b y Permission.
113
ei gh t h notes ins t e a d of q uar ter-note triplets) exp r e s s e d
in the piano in a series of seventh c ho r d s of v a r y i n g
qualities. In m e a s u r e 70, in a " r o l e - r e v e r s a l ," the piano
dispatches t h e d e s c e n d i n g interval p o r t i o n of T h e m e A wh ile
the wood win ds a n d high strings assume RM-2. T h e Th ird
R h yth mic S t r u c t u r e is e m plo ye d b e g i n n i n g on b e a t three
of that measure, w h e n the three pitches of RM-2 are slurred
creatin g the eff e c t of changing meters. (For a n exp l a n a t i o n
of the r hy t h m i c st ru ctures see A p p e n d i x A). T h e climax
of this large tr a n s i t i o n occurs where the basses and low
brass state T h e m e B in a declamatory m a n n e r (measures
73-75).
A brief link, using RM-3 in the piano, f u n cti ons as
a means by w h i c h the tr ansition is te r m i n a t e d (Example
52, measures 82-83). This deline ati ng role of R M-3 was
featured in the c on c l u s i o n of the o p e n i n g tutti (Example
46, measures 19-20), which also ended w i t h three a sc e n d i n g
pitches in c o n j u n c t motio n outlining a major t h i r d (measures
84-85).
11 4
E x a m p l e 52. Paul Creston, p iano concerto, mvt. I, measures

T h e me B
T he me B is b rought to full f r u i t i o n in the next
t h i r t y - s i x measures (the first n i n e measur es are in Example
53). M a r k e d "e spr es s i v o , " " p i a n i s s i m o " and "poco meno
mosso," T h e me B is stated in the p ia no in octaves,
a c c o m p a n i e d by the violins wit h q u a s i - i n v e r t e d Theme B
statements, and by the cellos w i t h the sequence portion
of T h e me B. Such thematic e c o n o m y imparts a satisfying
sense of unity.
In contrast to the previous transition, Th eme B now
e m ploys the raised fourth a s s o c i a t e d wi th the Lydian mode
(now the second melodic pitch, s i n ce the first note is
the third of the harmony, measure 101). In the first T h eme
115
4.Inyo^__.
—1
i»,4 >i
U 4— f— —,
-£— ---- 1
—
t-a-
W tT . —* I J g -
n p
p êailes
■ c~ = a
0
-j--'--^
---n n
-4r-ri--j
-------e î—th-
__________—
----------------- r T
* ir
gSi.4f=f r= w =
4 |»M M lt jf . jj----
r; — -J—i—f-M—i—f—
^ ------------------------- A _______— 'H --T5®-----------------------

2Lj— ----------
' £ 1 r 'ii -
j --- rf-—
^ - ^ - L _
-------------«---------- ^ ------------ * #f f — - i ----------
i^ r r j
i^TTl
^— v1 11
r -------------- - 1- - f"
E x ample 53. Paul Creston, piano concerto, mvt. I, m e a s u r e s

87-95. R e pr int ed by Permission.
B statement, at measure 87, a "D-sharp" occurs in the p i ano
over an "A" pedal. At m e a s u r e 94, a second statement of
Th eme B features a "D" o ve r an "A-flat" pedal. That
statement r epresents the first w h o l e s a l e embrace of "flat
chords in the piece, the res u l t b e i n g a vivid color change.
The third s tatement of Theme B (Example 54)
relinquishes the pedal point for c l e a r harmonic
a.
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Example 54. P aul Creston, piano concerto, mvt. I, measures
with permission of the copyright owner. Further reproduction prohibited without permission.
117
movement. In this statement, Cr es ton sh ows a p r e d i l e c t i o n
for p lan i n g major chords: c h o r d s u c c es sio ns of D - f l a t 7,
E- fl a t 7, E major, a n d D major, re a d i l y il lu str at e a
fr e e - f l o a t i n g h a r m o n i c pal a t e (measures 101-103). To
e n h a n c e rhythmic interest, the third stat eme nt is i n t e g r a t e d
wi th RM-2, which is scored in the piano with ap propriate,
rich h armonies (measures 106-107).
The violins p r e s e n t the fourth s ta t e m e n t of T h e m e
B at the dynamic level of "pianissimo" b u t with r h y t h m i c
changes in a c c o m p a n i m e n t f igures c r e a t i n g increased
agitation (Example 55, m e a s u r e s 117-118). S e x tup le t
e i g h t h - n o t e filigree pattern s in the r i g h t hand of the
piano part and tri pl et q u a r t e r - n o t e p a t t e r n s in the left
hand e n l i v e n the pre se nta tio n. The l a t t e r rhythm is d o u b l e d
T fK ip . I ( J » 9 4 J
Exa m p l e 55. Paul Creston, p i a n o concerto, mvt. I, m eas u r e s

117-119. Repr in ted by Permission.
118
by the cel l o s while the violas ma i n t a i n the q u a r t e r - n o t e
pulse.
B e g i n n i n g at m e a s u r e 123, contrar y m o t i o n b e t w e e n
the bass line in the piano (and the low o r c h es tra l
instruments), and the melody in the high orc he str al
in s t r um ent s drives the fourth statement to a stron g clima x
(Example 56). The m e l o d y begins to incorporate R M - 2 to
support the momentum. A high "G-sharp" is a ch iev ed by
the flutes and strings at me a s u r e 128; the right h a n d of
the pi ano part ascends the foll owi ng m e a s u r e to the h ighest
note of the piano, a "C," c o m ple tin g a f o u r - o cta ve p a t t e r n
o u t l i n i n g an F-sharp 9 with a sharp-11.
At m e a s u r e 130, the brass issue a triplet r h y t h m (RM-4)
w h ich c r e a t e s a d r a m a t i c effect of pres en tin g a 3/4 me as u r e
in the s am e amount of time as four qua rte r notes. The
piano r e j e c t s this the fo llowing measure wi th a r e m a r k a b l y
d i s s o n a n t statement of Theme A, featuring major se v e n t h s
and e m p l o y i n g the low est note on the piano. Reserving
the e x t r e m e s of the p ian o for cl imactic areas c on f o r m s
to C r e s t o n ' s belief that "Extremes should be the e x c e p t i o n
and not the norm."®
11 9
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-- 1
-
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E x a m p l e 56. Paul Creston, piano concerto, mvt. I, measure s
120
At the c onc lusion of the e x c h a n g e w i t h the brass,
the piano issues RM-2 in the fo ur t h rhythmic structure
in eighth notes (Example 57, measures 138-140). This
c l e a r l y resembles a se ct ion in the third movemen t that
uses the RM-2 slurred in g ro u p s of three (Example 114).
At me asure 141, the e x p o s i t i o n ends with the piano d e c i d i n g
upon Theme B, in a d e c l a m a t o r y st yle using dissonant
sevenths. Th e c o n cl us ion of the T heme B s ect io n is s i m i l a r
to the endin g of the previo us tr a n s i t i o n in two p rincipal
ways: using RM-2 in a r hyt h m i c structure, and c on c l u d i n g
w i th Theme B (Example 51, m e a s u r e s 71-74).
ritovfe
E x a m p l e 57. Paul Creston, p i a n o concerto, mvt. I, m e a s u r e s

138-142. Repr in ted by P ermission.
121
Recapitulation
T h e first m o v e m e n t of the piano c o n c e r t o c on tai ns no
r e al d e v e l o p m e n t section. C r e s t o n p r o b a b l y o p t ed to di scard
the t r a d i t i o n a l d e v e l o pme nt b ec a u s e them es are c o n t i n u a l l y
d e v e l o p e d t h r o u g h limitless v a r i a t i o n in the exposition.
Also, b e c a u s e of the constant i nf u s i o n of various harmonies,
this a s p e c t of a d eve lop me nt sec ti on is simply not need ed
to e n s u r e formal balance.
Theme A
In m e a s u r e 143, a twen ty -on e m e a s u r e tutti begins.
It is r e l a t e d to the opening tutti of the ex p o s i t i o n by
the f re q u e n t use of RM-1 (associated w i t h Theme A). Th e
tutti opens w i t h a D added s i xt h chord, the n e a p ol it an
of the o p e n i n g C - s h a r p minor key. A C - s h a r p 9 imm ed iat el y
follows, however, d e s t a b i l i z i n g the k e y (Example 58, measure
143).
A s i d e from h arm o n i c c on sid erations, this tutti is
r e n d e r e d t o n a l l y u n foc use d by the a b s e n c e of the d e s c e n d i n g
leap of a p er f e c t fifth a s s o c i a t e d w i t h Th eme A and the
r a p i d e m p l o y m e n t of m any of the themes and rhythmic motives
p r e s e n t e d thus far. For example, RM-2 is presented in
measure 147, an a l t e r e d ve rsion of T h e m e B is stat ed in
measures 148-149, RM-1 joins in at m e a s u r e 149, RM-4 is
f e a t u r e d in m e a s u r e 151, and an altered, lyrical v e r s i o n
of T h e m e A is p r e s e n t e d at m e a s u r e 1521
122
Tfrif X CJ - 94.’
.. t*-o. (7g)
I *
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u r ->4 i
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,
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35
rf£ S 7M ^ £ &
/r/
Ex am ple 58. Paul Creston, p iano concerto, mvt. I, measures

143-152. R e p r i n t e d by Pe rmission.
123
The tutti terminates with RM-4 in the oboe, trombone
a n d high strings (Example 59, m e a s u r e s 158-160). The
h a r m o n y here of a C-sharp Major w i t h a minor-9 is followed
by a G Major wit h a minor-9 chord to which the low strings
o u t l i n e Theme B (measures 160-161). At measure 162, C-sharp
M a j o r finally is decided upon but not without the low
or c hes tr al instruments first ins i s t i n g on a "D" in the
bass before b e ing reduced to a "C-sharp" ostinato. The
la tt e r recalls the opening tutti of the exposition (Example
46, measure 26).
£>tX t? -'Y'rT'V «•->-
E x a m p l e 59. Paul Creston, piano concerto, mvt. I, measures

158-162. Reprin ted by Permission.
Similar to the exposition, the piano enters the Theme
A s ec t i o n with RM-1 alterna ti ng b e t w e e n the hands (Example
60, measures 163-164). In the recapitulation, however,
1 24
the pas sag e is m u c h m o r e s u b s t a n t i a l in length and hints
at a pot e n t i a l "t a k i n g - o v e r " by RM-1 (which is reali ze d
in the coda). T h e p i an o beg i n s on a n F-sharp m i n o r harmony,
a fourth h i g h e r th an its p r e s e n t a t i o n in the ex p o s i t i o n
(Example 47). U s i n g RM-1 in full chords, the mel o d y rises
in conjunc t m o t i o n b e g i n n i n g w i t h a "G-sharp" at me asure 163.
Ex a m p l e 60. Paul Creston, pi ano concerto, mvt. I, measures

1 25
A n A9 c h o r d at m e a s u r e 173, e m b e l l i s h e d by octaves
b e t w e e n the h a nds in the piano, resolves to a D9 the
f o l l o w i n g m e a s u r e with RM-2 app e a r i n g in its original
q u a r t e r - n o t e triplets (Example 61, measures 174-176).
This rare d o m i n a n t - t o n i c r e s o l u t i o n lends s t r o n g s u pport
for D M a j o r b e i n g the key of the T h e m e A s e c t i o n in the
recapitulation.
f U - j )4 ^ i i if— i
- i:1
.
. A r V F i t '
‘
• 81 - - =i+H= ■ \
f-jj-'— -■ ---î
-— m
-I — A ------- - : -fi---- — ---- j4--
= B = *3. =.
*
/
§
$
f
w
Exam p l e 61. Paul Creston, p i ano concerto, mvt. I, m e a s u r e s

126
The R M — 2 statements/ w h e n c o m p a r e d to the c o r r e s p o n d i n g
locat i o n in the e x p o s i t i o n (Example 47), show a similarity
with the large a c c o m p a n i m e n t f igures in the left h a n d of
the piano part. The i n t e r p o l a t i o n of an e x t r a m e a s u r e
(Example 61, m e a s u r e 175) in t h e recapitulation, however,
d eviates from the exposition. T his is an e x a m p l e of h o w
themes and motives are s u b j e c t e d to phrase extensions,
m o d i f i e d repetitions, a n d a gen e r a l thickening of texture.
An exa m p l e of a phrase r e p e t i t i o n is the RM-1 p a s s a g e at
measur e s 187-191 (Example 62) w h i c h is now d o u b l e d in size
c o m p a r e d to its c o r r e s p o n d i n g p l a c e in the e x p o s i t i o n
E x a m p l e 62. Paul Creston, piano concerto, mvt. I, m e a s u r e s

1 27
(Example 47, measures 30-32). The m e l o d y of this passage,
inten s i f i e d by thirds in the accompaniment, outlines "A,"
"G-sharp" and " F-sharp"— a fourth h i g h e r than the
exposition.
Transition (Introducing T h e m e B)
The tra n s i t i o n beg i n s in the key of A major, dominant
of D M a jor (Example 63). This is similar to the k e y
relat i o n s h i p in the e x p o s i t i o n where T h eme A a n d the
i ntro d u c t i o n of T h eme B w e r e sep a r a t e d by a fourth: tonic
(c-sharp minor) an d s u b d o m i n a n t (f-sharp minor),
respectively. A c c o m p a n i e d by gently arpegg i a t e d s i x t e e n t h
notes in the piano, Theme B is stated by the v i o l i n s w i t h
the low strings pro v i d i n g bass support with an "A,"
"G-sharp," and "F-sharp" (measures 199-200). As in the
Example 63. Paul Creston, p i ano concerto, mvt. I, measures

199-201. R e p r i n t e d by P ermission.
128
exposition, a certain "squareness" is p r e v a l e n t in this
sect i o n b e c a u s e all r h y t h m i c levels c o n f o r m to the meter.
g; T ft.
7I1
E x a m p l e 64. P a u l Creston, piano concerto, mvt. I, measures

129
The 3 + 3 + 2 r h y t h m i c s t r u c t u r e a s s o c i a t e d with the
t ransition (Example 49, m e a s u r e s 48-49), precedes and
follows the piano s o l o of T h e m e B, i nstead of only preceding
it as in the e x p o s i t i o n (Example 64, m e a sures 207-208 and
212-213). Ano t h e r m o d i f i e d p h r a s e r e p e t i t i o n of the
hemiola, in the piano, achieves the e n h a r m o n i c neapolitan
(measure 216) of E - f l a t 7, a f f i r m i n g the importance of
D Maj o r in the r e c a p i t u l a t i o n b y its r e s o l u t i o n the
following measure.
Similar to the e x p o s i t i o n (Example 50), an argument
b e t w e e n dissonant, d e c l a m a t o r y sta t e m e n t s of Theme A in
the strings and woodwinds, and harmonic, lyrical
statements of Theme B in the p i a n o begins. T h e piano
finally accedes to t h e o r c h e s t r a ' s ins i s t a n c e on Theme
A wi t h a v e r s i o n of the theme that i n t e r polates new material
(Example 65, m e a sures 228-229). This p r e s e n t a t i o n also
acquires a strong bas s line in the piano and low strings
creating pantonal h a r m o n i e s of F - s h a r p 7, E-s h a r p 7 and
E Major.
1 30
if
7

RM-2 appears in the piano in m a j o r - m a j o r seventh
chords (Example 66, m e a s u r e 233), p roviding a link between
versions of Theme A. T h e s eventh is significant because
the interval (usually major) is identified with the
declam a t o r y statements of Theme A. RM-2 transfers to the
low strings the fol l o w i n g measure, a l l o w i n g the piano to
issue a very d i s s o n a n t d i splay of sevenths which recalls
the brass chords in the o p ening tutti (Example 45, measures
5-6) .
131
E xample 66. Paul Creston, p i a n o concerto, mvt. I, measures

RM-2 begins its d o m i n a n c e of the t r a n s i t i o n s e c t i o n
in me asure 239 w h e r e d i a l o g u e between the o r c h e s t r a and
piano begins to high l i g h t t e r t i a n h a r m o n y r e l a t i o n s h i p s
(Example 67). The strings int r o d u c e R M - 2 in C - s h a r p M a jor
(measure 240) w h i c h the p i a n o interrupts with a solo on
E M a j o r the f o l l o w i n g measure. The o r c h e s t r a responds
with a B-flat 7 c h ord (an e n h a r m o n i c t e r t i a n r e l a t i o n s h i p
to C-sharp) and the piano a g a i n offers a tertian r e p l y
(G-sharp 7), b e g i n n i n g a t h r e e measure s t a t e m e n t that is
placed in sequence by d e s c e n d i n g thirds in the bass. Th e
piano, via c o n t r a r y motion, a r rives on a powerful D7 chord,
a harm o n y w h ich continues to be o u t l i n e d in the F o u r t h
Rhythmic Stru c t u r e by the s t r i n g s and w o o d w i n d s (measures
247-249).
132
f
* = ------=--- r »t > n ,
P h r F -p E= 4 ------ --
La l f - ■,
i•^ H 1- j. J
T = t
------ = ==- =J=hi -
~
i --:
> ^ >
:^ ------------
i V2
s * ---------------
1 -®-
irs-
/
■■---■
3
»f
•
1 =
—— —
-^6 & 6— a|>< H
*f- F -f «f r !
ft f
-T M -
JJ N
fci M -— n vH J ; j
F ^4 ^4 4 ^ 7— — Li i -- 1— |
£ ------- - I MT Lf f*r«rr 9
; ---------------
U---------
a. - - \4~r=i —
4*---- ZZ'::- ~ ' 1'
.iif-Tit f i*& —ii----

-------
.-- 1
Prir r t ,_ 2f--
1 1F
Jrr *
a:
9----------------- ■~j,iij {d|' Tj~T=^^=1
b-
- F 1^ -tp1
SJtftr f
k- - F
E x a m p l e 67. Paul Creston, piano concerto, mvt. I, measures
133
Similar to the end of the opening tutti (Example 46)
and the end of the transition section of the e x p o s i t i o n
(Example 52), RM-3 enters outl i n i n g an A Ma j o r - 7 with a
sharp-11 harmony (Example 68, measures 252-253). It serves
as a link to the f orthcoming Theme B section .
poca n t
— 5
0» tempi
Example 68. Paul Creston, piano concerto, mvt. I, m e a s ures

Theme B
Theme B c o m m e n c e s with a D9 harmony, the f a v o r e d key
of the recapitulation. The ninth, which occurs in a
quarter-note t riplet pattern in the right hand, is r e t a i n e d
from the previous E Major c h ord (Example 69, m e a s u r e s
260-262). Theme B is stated in half notes b e g i n n i n g on
the third of a D9 harmony, a l s o played by the r i ght hand.
At this point, the ke y is a fourth higher than the
134
—■ ««•» »^ j i « ‘ ■ | (
—w — 1------ { - 1 1j
i r i f f* r r L—» » _J
u- J ----* *
^?p I
- 8 ------------------------------
1 = * f ----- 1
fw » ( J r AaJ
-&■
- . i ^ r r r > ^ J r L j. , n j - r ^
O X * # J || — ;
V C ------—-- .*
© -v
mri.if (F r U f a
P p P f
_ iiko- - - - - - - - rt
a g ^ -- I
i * 1 -f- ■
d »n j~n~n ± dllrTn
re<«i» I (J*
renw r (J-«V
Example 69. Paul Creston, piano concerto, mvt. I, m e a s u r es

260-262, 270-273, and 277-279. R e p r i n t e d by Permission.
135
c o r r e s p o n d i n g s e c t i o n in the e x p o s i t i o n w h e r e Theme B began
w i t h the third of an A M a j o r harmony (Example 53). This
is the second i n s t a n c e w h e r e material in the r e c a p i t u l a t i o n
is p r e s e n t e d a fou r t h h i g h e r than the e x p o s i t i o n (the o t her
ins t a n c e also o c c u r r e d at the b e g i n n i n g of a section: the
p iano e n t r a n c e in the T h e m e A s e c t i o n s ).
T h e m e B is s t a t e d for a second time in the piano
b e g i n n i n g on a B Major-7, a tertian r e l a t i o n s h i p to D M a jor
(Example 69, m e a s u r e s 270-271). A c c o m p a n y i n g both
statements, the cellos o f f e r material s i m i l a r to that of
the t r a n s i t i o n s e c t i o n in the e x p o s i t i o n (Example 48,
measure 39). A t h ird a n d final stat e m e n t o f T h eme B is
in the orchestra, r e t u r n i n g to a D M a j o r - 7 h a r m o n y (measures
277-278). Here, the p i a n o accompanies w i t h e i g h t h - n o t e
sextupl e t s in the r i g h t hand, and a r p e g g i a t e d q u a r t e r - n o t e
triplet s played s t a c c a t o in the left hand.
Th e calm of the T h e m e B section b e g i n s to acquire
some a g i t a t i o n w i t h the frequent triplets o f RM-2 in the
high strings. The a c c o m p a n i m e n t figures in the left h a n d
of the piano are also st r e n g t h e n e d with f u l l e r chords w h ich
e mb r a c e exten d e d t e r t i a n h a rmony (Example 70, measu r e s
283-285). The bas s e s h a v e pitches in d e s c e n d i n g c o n j u n c t
m o t i o n that c r e a t e p l a n i n g harmonies of: D Major, C-Sharp
Major, C Major, and B 7 .
1 36
f o j u3fl TiiLii’i'r'ffTfrfTf-
crey*-.
g y
e re s r. jo o e o a jo o c o
i4 j .4 -
E xam p l e 70. Paul Creston, p i ano concerto, mvt. I, measures

283-285. R e p r i n t e d by Permis s i o n .
In m e a s u r e 287, a j u x t a p o s i t i o n of the eighth-note
triplets of RM-1 and th e q u a r t e r - n o t e triplets of RM-2
contribute to the te n s i o n in the Theme B section in part
b ecaus e the "B" in the c h o r d of the right hand of the
piano and the same note in the flutes and high strings
do not align (Example 71). Harmo n i c changes now g e n e r a l ly
begin to a s s u m e tertian m o vement. For example, at measures
289-291, the h a r m o n i c p r o g r e s s i o n r e p r e s e n t e d is: F d o m i n a n t 7,
D9 wit h a sharp-11, B9 a n d G - s h a r p 9.
137
\i V f J J J l
ra: \ ' 4 i I
* - F rt- * — 1 »
— '
- V ---------------- -------
S*r . ,
I X i t fr ^ f t i
-— L -r .---- ^ \-X----f t ■ - ^ T r t
I
r r ij: ^
f. z - £ - n * i t \ *fT*r»n| iU
/ -----
t f1 f |
f f 1-j— )— "1 ------ 1-----
i
? I t
iJ j=
— 9----- 1 » '| J ^ A fS=t=t
I fa t
r C ^ p = tE V
* e N > fi— -5 —* i— * — .
--------------- |Ul--------
^ L ~ O 43
Exam p l e 71. Paul Creston, p i ano concerto, mvt. I, measures

The orchestra, in a b r i e f tutti, continues w i t h tertian
h armon i c progre s s i o n using RM-2 to cre a t e a cli m a x on an
enharm o n i c F7 at m e a s u r e 296 (Example 72). At this point,
the orchestra d i s p a t c h e s RM-4, with its slower p u lse of
three "beats" in the time of four. T h e piano r e s p o n d s
the following m e a s u r e with a dissonant RM-1 s t a t e m e n t that
138
concludes with a str o n g "F-sharp" (enforced in the low
strings). A n o t h e r t w o - m e a s u r e o r c h e s t r a l s t a t e m e n t of
R M - 4 , also c o n c l u d e s with a strong " F - s h a r p , " to w h i c h
the piano places the d o w n w a r d leap of Theme A in a sequence,
finally a r r i v i n g o n a B m a j o r h a r m o n y — a d o m i n a n t - t o n i c
r es o l u t i o n of the "F-sharp" (measures 298-301).
Exampl e 72. P a u l Creston, p i ano concerto, mvt. I, m e a s u r e s

139
Coda
T h e c o d a of the f i r s t movement is d o m i n a t e d by th e
piano u s i n g e i t h e r full chords a l t e r n a t i n g b e t w e e n the
hands or o c t a v e s w h i c h adhere to the e i g h t h - n o t e t r i p l e t
rhythm of RM-1 (Example 73). With this r e l i a n c e o n RM-1,
the coda strikes an a f f i n i t y with the p i a n o e n t r a n c e at
the T h eme A s e c t i o n in the re c a p i t u l a t i o n (Example 16).
t*•
Ex a m p l e 29. Paul Creston, piano c oncerto, mvt. I,

measu r e s 301-307. R e p r i n t e d by Permission.
140
RM-1 begins o n an "A" of an f - sharp minor h a rmony
at me a s u r e 302, w i t h the "F-sharp" r e a s s e r t i n g its
importance as a b a s s note similar to the end of the Theme
B section. Melodically, RM-1 rises c h r o m a t i c a l l y and
achieves a "D" in m e a s u r e 304. The f o l l o w i n g measure,
the piano begins a n embell i s h e d ascent of a c - s h a r p minor
scale, the o p e n i n g ke y of the concerto. During this
virtuosic passage, the low strings s t a t e Theme B (measures
305-306).
A "D" is a c h i e v e d in the piano in measure 309 (Example
74), but not w i t h o u t some resistance f r o m "C-sharp" (similar
to Example 59, m e a s u r e 162). The "D," however, suddenly
resolves to a "G-sharp" (Example 74, m e a s u r e 311).
This is in a n t i c i p a t i o n of an orchestral entra n c e of
Theme A, in m e a s u r e 311, complete with its d e s c e n d i n g fifth
("G-sharp" and "C-sharp"). This p r e s e n t a t i o n is identical
to the o p e n i n g m e a s u r e of the movement (Example 45).
Hence, the coda has helped to bring the piece "full
circle."
141
@ 4- *•
( f f— [
^ r -Uj*- * L f
y j J P >
l l ' { \ \ X
. i ;
» ;l ' — .■ . . ■ '-------------------- I
V k p . t t* - ■ r . (I » , ..... - . i ^ T ---------- **'--------------------- af
L _ ^ _ 4 -------------------1
fcfZZ.
1 1 ~ * ~ --------------------------------------
--
i t s * . —
irH— ---- 1717*"^' ------
lp * f
7 4 ’ P f u J: 9 r ® s t o n ' P iano concerto, mvt. I, measures

After fragments of T h eme A are stated in the orchestra,
the piano issues final statements of RM-2 that are in
descending sequence, b e g i n n i n g with a G - s h a r p 7 (Example
75, measures 317-320). Chords, whose root move m e n t s ascend
by minor thirds, are stat e d in the orc h e s t r a on weak beats.
Fragments of T h eme A resume in the orchestra, however,
142
at m e a s u r e 320 and ar e now h a r m o n i z e d as a B9 with a
s h a r p - 11 on beat four. For the f o l l o w i n g measure, this
chord is s ucceeded by a D9 w i t h a sharp-11, to w h i c h
ad d it i o n a l fragments of Theme A o u tline the D9 h a r m o n y
for three a d d i tional measures. The p i a n o a c c o m p a n i e s with
virtuosic, a l t e r n a t i n g triplet octaves.
g
i i i
•
H “U i ' ------ j 'Hr X J
' 3 --
r m H --- d--- 1--- ‘
---- i---
T^- ^ T
•>»
_ nij
" 'J
//•
j d._ 1
-■d --- S'------- J----- * R = ---- i J -
r i ■ 4 i -J"
Exampl e 75. Paul Creston, p i ano concerto, mvt. I, measures

143
A small "digression" of d i s s o n a n t chords creates
harmo n i c c o lor at the en d of the m o v e m e n t (Example 76).
A C7 an d a G M a jor-7 (both with s p l i t thirds) initiate
the p r o g r e s s i o n at m e a s u r e 325. S t a t e d in the orchestra,
the s e q u e n c e of chords beg i n n i n g at m e a s u r e 327 comprises
(all chords co n t a i n a sharp-11): D9, A9, E9, G M a j o r with
an en h a r m o n i c m i n o r - 9, e n h armonic C - s h a r p 7 with an added
lowered fifth, F Major w i t h an e n h a r m o n i c minor-9, e9 with
an a d d e d l o w e r e d fifth, a n d a C9. Th e latter chord
resolves as a n e a p olitan to a B9 w i t h a sharp-11 in the
orchestra, w h i c h is c ontinued in the p i a n o with a final
vituo s i c f l o u r i s h in a l ternating o c t a v e s (measures 329-
331 ) .
The final chords of the movement, in both piano and
orchestra, are a D9 and a D9 with a s h a r p - 1 1 w h ich
provide a s u b d o m i n a n t c a d e n c e to a n A M a j o r - 7. The
"C-sharp," "E" a n d "G-sharp" of the final chord suggests
that the o p e n i n g key of c-sharp m i n o r has not been wholly
abandoned, but m e r e l y i n c orporated into the ending key
of the movement.
‘T T i V
(O
-a -

145
M o v e m e n t Tw o
The second m o v e m e n t o f the p i a n o concerto is in 3/2
meter and marked "Andante T r a n q u i l l o , " the qu a r t e r note
m a r k e d 60 on the metronome. The m o v e m e n t is d i a t o n i c
m e l o d i c a l l y and c o n s o n a n t h a rmonically, with m a j o r chords
predominating. U n l i k e the first movement, with numerous
rhythmic motives and t h e m a t i c manipulation, this movem e n t
uses primarily two simple themes in five-part song form.
T h e m e A S e ction
An orchestral tutti b e g i n s the s e c o n d movement, s i m ilar
to the first movement. A g a i n s t a b a c k d r o p of u n c o m p l i c a t e d
harmonies, the m a i n theme, T h eme A, is introduced in the
first measure by a solo c e l l o against a two-measure D-flat
chord in the strings (Example 77, m e a s u r e s 1-2). A strong
characterisic of Theme A is the initial a s cending fifth,
which features the ninth (an "E-Flat") of the harmony;
and, the q u a s i - sarabande r h y t h m of the second measure,
which uses the L y d i a n " G - n a t u r a l ." This theme bears some
resemblance to m a t e r i a l in the first m o v e m e n t (Example
45, m e asure 1) w h e r e the o p e n i n g t h eme featured a d e s c e n d i n g
fifth in a rhythm that ca n be viewed as a faster version
of the a f o rementioned s a r a b a n d e rhythm. A n o t h e r si m i l a r ity
to the first m o v e m e n t is t h a t the L y d i a n mode was an
integral part of the ly r i c a l theme (Example 53).
146
Theme A
5 . = ^
T? ^ --- "I—
ffr F5 T
»7 i>7
b «►
ii
" 2 : ----------- 5 t
ute Lllf
E x a m p l e 77. P a u l Creston, piano concerto, mvt. II, m e a s u r e s

T h e c o n s e r v a t i v e h a r m o n i c c h a n g e s of this movement
can o f t e n be d i s c u s s e d u s i n g t r a d i t i o n a l analytical terms.
For example, in the key of D-f l a t Major, a IV7 (subdominant
seventh) and a V7 (dominant seventh) are e m p l o y e d in m e a s u r e
3; a b o r r o w e d VI M7 is u s e d on the downb e a t of the fol l o wing
m e a s u r e follo w e d by a n e a p o l i t a n w i t h a seventh, ninth,

i
and sharp-eleventh. The last beat o f m e asure 5 contains
a b o r r o w e d I I I 9 that resolves to I, e m p l o y i n g tertian
movement. T e r t i a n harmony is the f a v o r e d v e h i c l e by w h i ch
C r e s t o n g e n e r a t e s harmonic mot i o n in this movement.
T h e piano ent e r s the se c o n d m o v e m e n t with Theme A
in the home key of D-flat (Example 78, measures 12-15).
147
This h a r m o n y was preceded by a st r o n g n e a p o l i t a n cadence
p r o v i d i n g a plagal effect through the use of the "G-flat"
a n d the "F-flat." A c c c o m panying are figures in the left
h a n d piano part. These s u pport the r i g h t - h a n d melody with
a m i n i a t u r e v e r s i o n of itself: In me a s u r e 13, the "E-flat,"
"B-flat," and "C" the first three left-hand q u a r t e r notes
a n t i c i p a t e the m e l o d y in the right hand. Also, the melodic
o u t l i n e of the a c c o m p a n i m e n t in the foll o w i n g measure
foresh a d o w s Theme B (see Example 80, measure 26).
E x a m p l e 78. Paul Creston, piano concerto, mvt. II,

m ea s u r e s 12-15. R e p r i n t e d by Permission.
T h e m e A, sta t e d next in A Major (an e n h a r m o n i c borrowed
sixth h a rmony in the key of D-flat Major), is preceded
by qua r t e r - n o t e triplets in measure 18 that f u n c t i o n as
transi t i o n a l m a t e r i a l (Example 79). T h ese a s c e n d i n g and
148
de s c e n d i n g triplets ar e very s imilar to a passage in the
first m o v e m e n t (Example 61, m e a s u r e 156).

1"'3
r »r
'1I
I
4 ^ ^
1
|
I
iif f
Example 79. Paul Creston, piano concerto, mvt. II, measures

16-19. Repr i n t e d by Permission.
T h e m e B is i n t roduced in the piano on a d o m i n a n t
harmony (G-sharp 7) preceded by a strong neapolitan
cadence similar to the piano i n t r o d u c t i o n of Theme A
(Example 80, m e asure 26-27). T h e m e B is c h a r a c t e r i z e d
by a h a l f - n o t e tied to an eighth note, followed by
descending eighths w h i c h conclude with a do t t e d quart e r - note
figure.
149
Theme B
Example 80. Paul Creston, piano concerto, mvt. II, measures

25-29. R e p r i n t e d b y Permission.
A complete v e r s i o n of T h eme B, however, does not app e a r
until later in t h e T h e m e B section (Example 81, m e a s u r e
37). Creston's t e n d e n c y to anticipate future ideas is
exhibited here s i m i l a r to the first movement. In that
1 50
movement, T h e m e B was first i n t r o d u c e d in a t r a n sition
section w h o s e c h a r a c t e r was not q u i t e that of a s i g n i f i c a n t
thematic section. In M o v e m e n t Two, Theme B is i n t r o d u c e d
again in a less t h a n s i g n i f i c a n t manner, to the extent
that it mer g e s w i t h T h e m e A in m e a s u r e s 28-29 (Example
80) .
;i m tJ J . .OOCC,
id
|lfj ^ j.- - n> —
"J -r
—
ii'iiJ —
i
— j—
A:.g=t j | d- 'i---1— LJ ■ \ 1---- 1“ —

1 ^ 4 - ^ - 4- I r
H f — r 7 ^
E xampl e 81. Paul Crest o n , piano concerto, mvt. II, m e a s u r es

36-40. R e p r i n t e d b y Permission.
151
Theme B Section
T h e m e B enters in full in m e a s u r e 37 h a r m o n i z e d by
an E-flat Major-7 (Example 81). M a r k e d "poco piu mosso,"
Theme B is p r e s e n t e d by the o b o e and c o n c l u d e s on the
d ownbeat of the f o l l o w i n g m e a s u r e wit h a D-fl a t Major chord,
a major second l o w e r than E - f l a t Major. This harmonic
effect, suggested b y the "C-sharp" in the piano (measure
36), is striking a n d creates e x p e c t a t i o n s for the listener
during subsequent statements. A T h e m e B s tatement follows,
beginn i n g on an e n h a r m o n i c C a u g m e n t e d c h o r d with a
split- t h i r d and a seventh, and by means of phrase extension,
terminates with a s u r p r i s i n g d h a l f - d i m i n i s h e d chord also
with a split third (measures 39-40).
The piano rej o i n s the s e c o n d m o v e m e n t b e g i n n i n g an
unstable s u b - s e c t i o n w i t h the d o t t e d q u a r t e r - n o t e figure
of Theme B h a r m o n i z e d as a C - s h a r p 9 (Example 82, measure
48). A s s i s t e d by a r p e g g i a t e d e i g h t h - n o t e a c companiment
patterns, a new a c c e l e r a t e d h a r m o n i c m o t i o n of Theme B
creates tonal instability. From measures 49-50, several
seventh harmonies a r e represented: D Major, G Major,
B-flat Major, and A Major.
1 52
p m m
p
M i I**
I -~ f J i i ~ ^ Ii i
E xam p l e 82. Paul Creston, piano concerto, mvt. II, m e a s u r e s

This s u b — section climaxes with two b o l d statements
of T he m e A in octaves in the piano ( E x a m p l e 83). The first
statement, on an F-sharp harmony, is i n t e r r u p t e d by T h eme
B in the oboe a c c o m p a n i e d by the c l a r i n e t and strings and
terminates with a harmony a sec o n d l o w e r (E Major). A
second s t a t e m e n t of Theme A follows on that harmony, but
retains the e x act melodic pitches. Th e concept of the
harm o n y d e s c e n d i n g a second o r i g i n a t e d in the oboe s t a t e m e n t
that b e g a n this Theme B section (Example 81, measures
37-38) .
I
1 53
E x a m p l e 83. Paul Creston, p i a n o c oncerto, mvt. II, measures

Fo r the next t w e n t y - t h r e e m easures, the piano engages
in a solo, a c c o m p a n i e d by p i z z i c a t o s t r i n g s and m i n i m a l
o r c h e s t r a l chordal support. Theme B predominates in this
s u b - s e c t i o n w i t h c o n s o n a n t st a t e m e n t s b e g i n n i n g on A Major
(Example 84). The t e x t u r e in the p i a n o is in three layers.
The m e l o d y is in the soprano voice, a c c o m p a n i e d by
c o n t i n u a l e i g h t h notes in the alt o voice. The left hand
p rovides h a r m o n i c s u p p o r t w i t h p a r a l l e l first and s e c o n d
i nve r s i o n triads ( o c c a s i o n a l l y p u n c t u a t e d by a low bass
note).
1 54
pill
E x a m p l e 84. Paul Creston, piano concerto, mvt. II, measures

Cr eston's h a r m o n i c r e s o u r cefulness is c l e a r l y
i l l u s t r a t e d in E x a m p l e 85. Here, three suc c e s s i v e Theme
E x a m p l e 85. Paul Creston, piano concerto, mvt. II, measures

64-66. Repr i n t e d b y Permission.
155
B passages (all m e l o d i c a l l y begi n n i n g with an " F " ) are
har m o n i z e d as B-f l a t Major, D-flat Major, and G7 c r e a t i n g
color a n d variation.
Q u a r t e r - n o t e triplets, which w e r e introduced as a
a transitional dev i c e (Example 79, m e a s u r e 19), h e l p b r ing
the T h e m e B S e c t i o n to a c l ose (Example 85). U n l i k e the
Hr.
77
-e-
Example 86. Paul Creston, piano concerto, mvt. II,

measures 74-79. R e p r i n t e d by Permission.
156
first m o v e m e n t where the triplets u s e d a lowered neighbor
tone (Example 45, measures 3-4), t h e s e triplets emp l o y
an u p p e r neig h b o r tone that p r e f i g u r e s a theme also used
in the t h ird movement (Example 115). A delicate p iano
scale f e a t u r i n g the L y d i a n el e m e n t o f b o t h D-Flat M a j o r
and B M a j o r harmonies (Example 86, measures 78 and 79,
respectfully) finishes the Theme B section.
Second Theme A S e c t i o n
A n or c h e s t r a l tutti revives T h e m e A in the woodwinds
us ing p a n t o n a l chords which c o n f o r m to the d e s c e n d i n g bass
line (Example 87, measures 80-81). N o t i c e a b l y abs e n t is
the L y d i a n element which a p p e a r e d in the o p e n i n g of the
movement (Example 77, measure 2). On the fourth q uarter
note of m e a s u r e 81, an A M a jor c h o r d o v e r a D M a jor chord
sugge s t s bitonality. This is only a s l i g h t dep a r t u r e from
the p r e v a i l i n g simplicity, however, w i t h the flutes
r e s t a t i n g the rising four-note p a t t e r n of the previous
w o o d w i n d p a s s a g e to a p l aintive G M a j o r ha r m o n y (measures
82-83). T h e horns, in turn, echo t h e flutes and violins
with three T h e m e A statements h a r m o n i z e d by the strings
as a B - f l a t Major-7, a D7 with a l o w e r e d fifth (a Fre n c h
A u g m e n t e d Sixth) and a G7, the l a t t e r w h i c h provides a
sub d o m i n a n t cadence into the piano e n t r a n c e of Theme A.
1 57
pfe==l
?p
9 : —=-=—
l\(3 -
^n
ft
^- a^
~~
|t*fff ifih ViTr^ t
§-- '- -
; ii' T T i.
—
"t iCi
rjc
.
temp#
?
1*
A.
< f-r—P—t
—IO*----- 1 ==i
Exam p l e 87. Paul Creston, piano concerto, mvt. II, measures

The p i ano reen t e r s the second m o v e m e n t in the key
of D Major, the n e a p o l i t a n of the home key o f this movement
(Example 88). In this entry, the first note of Theme A
begins on the tonic rather than the d o m i n a n t of the
c o r r e s p o n d i n g ea r l i e r section (Example 78). Also, the
m e l o d y no w i n c o r p o r a t e s the c onsecutive q u a r t e r - n o t e idea
158
from the woo d w i n d s (Example 87, measure 81). The most
d i s t i n c t feature of this T h e m e A Section, however, is the
a d d i t i o n of h a r p - l i k e a r p e g g i a t i o n in the piano. I n itially
e m p l o y i n g a th i r t e e n t h and a ninth, t h e s e a r p e g g iations
c ont a i n incipient fourth chords which c r e a t e a smo o t h
h armon i c effect (Example 88, measure 88). The strings,
with pianissimo, o n e - m e a s u r e patterns, a c company the piano.
@) _______
Ten* X.
j. i i
4+L-, 1 ui ± 4 - — — -4— 1
B n -f— ;r- Jtg — 1 ■ *—
r
5-
V ■>
r r £
_i
■J = 3 = ^ j-J— M i ■1 — 4=1=
44=H .# -hr- 11
I n f i t.
1
n-p. r
r T
4^lt=j=i=
ni ..I 1 ■ J 1
ff % ¥
.P a u ^ Cêston, p i ano concerto, mvt. II, measures

159
A second s t a t e m e nt of T h e m e A in the piano is
h a r m o n i z e d as a B-flat M a j o r - 7 at m easure 98, and b e g i n s
on the third of the ch o r d (Example 89). It is p r e c e d e d
by a h a r m o n i c p r o g r e s s i o n of E7, D-Sharp-7 and A9 w h i c h
abides by the d e s c e n d i n g bass line (measure 97). The
cadence to a B - flat har m o n y is a c h i e v e d by strong v o i c e
leading in the m e l o d y ("C-sharp" to "D") and by s l i d i n g
chromaticism. T h e s e co n d s t a t e m e n t is less complete tha n
the f i r s t statement (Example 88): Theme A begins a g a i n
in m e a s u r e 99 on a G9 c h o r d and again the following m e a s u r e
on a D 1 3.
~T > W ^
Example 89. Paul Creston, piano concerto, movement II,

A n o th e r s tatement of T h e m e A (Example 9 0 , measures
107-109), e n t e r i n g " f o rtissimo," presents Theme A in its
c omp l e t e form r e i n f o r c e d by o c t a v e s in the piano. This
statement, preceded by the q u a r t e r - n o t e triplets in the
piano w h i c h create a n e a p o l i t a n c a d e n c e of E-flat 9 to
D Ma j o r (measures 106-107), exploits the "law of
e x p e ct a t i o n s " by a r r i v i n g on a n u n e x p e c t e d C-Sharp M a j o r
h a r m o n y instead of the lowered s e c o n d h a r m o n y of C M a j o r
(measure 109).
fi4 i i i i i
pp
m i i "
E x a mple 90. Paul Creston, p i a n o concerto, mvt. II, measures

161
T r a n s i t i o n a l m a t e r i a l in q u a r t e r - n o t e triplets subsumes
this T h eme A s e c t i o n b e g i n n i n g at me a s u r e 113 (Example
91). F i rst st a t e d in the piano, the triplets i n i t i a l l y
reach a "B," the fifth of the prevailing E Major harmony.
This pitch is also the c l i m a x in su b s e q u e n t s t a t e m e n t s
in the brass, s u p p o r t e d by a D M a j o r - 7 h a r m o n y in the
strings, and a B9 c h o r d in the piano (measures 114 a n d 115).
*
CKJC.
*
f 4“1'4 i 4'i
gjftiU
u i± £
E x a m p l e 91. Paul Creston, piano concerto, mvt. II, m e a s u res

162
A trip l e t p a ssage at me a s u r e 117 rai s e s the "B" to a
s t a r t l i n g "B-sharp," the r a i s e d e l e v e n t h of an F-Sharp
9 harmony. A f t e r the previous p hrases emphas i z i n g the
"B," the r a i s i n g of a hal f - s t e p is a moment of inspiration.
T h e ef f e c t is intensified by octaves in both hands of the
p i a n o w h i c h a c h i e v e the h i g h e s t n o t e on the piano. Like
the first m o v e m e n t (Example 56, m e a s u r e s 129 and 131),
this is a n o t h e r example of h o w C r e s t o n reserves the e x t r eme
r e g i s t e r s of the piano for cli m a c t i c moments.
A b r i l l i a n t passage in the piano, marked "fff" and
"poco a c c e l e r a n d o , " is the acme of the second movement
(Example 92). Beginning w i t h a "C-sharp" in the melody,
c hor d s and o c taves in both hands descend, outl i n i n g a
"C-sha r p , " an "A" and an "E-sharp," resp e c t i v e l y the
ninth, s e venth and raised e l e v e n t h of the B M a jor
harmony. The brass and strings c o n c l u d e this T h eme A
S e c t i o n c o n t i n u i n g with e i g h t h notes in ascending motion,
t hat o u t l i n e a G9 chord. T h i s p r o v i d e s for a neapolitan
c a d e n c e into the reprise of the T h e m e B Section (measures
122-124).
Example 92. Paul Creston, piano concerto, mvt. II, m e a s u res
S e c o n d Theme B S e c t i o n
The piano d o m i n a t e s the second T h e m e B s e c t i o n in
similar f ashion to the e a r l i e r c o r r e s p o n d i n g section.
A th r e e - l a y e r t exture with minimal o r c h e s t r a l a c c o m p a n i m e n t
is a g a i n f e a t u r e d (Example 93). A s i m p l e a t m o s p h e r e is
e x p r e s s e d t h r o u g h o u t the first three T h eme B statements,
164
su g g e s t i n g a " p a s t o r a l " q u a l i t y w i t h the p e r s istent use
of the sup e r t o n i c c h o r d o n the t h i r d and f i f t h quarter
notes in m e a s u r e 125. S i m i l a r to the first T h e m e B section,
the s t atement t e r m i n a t e s with a h a r m o n y a s t e p lower, E
Maj or (m e asure 126).
dL
E x a m p l e 93. P a u l Creston, piano concerto, mvt. II, measures

A sequence, w h ich uses a r a r e C r eston h a r m o n i c
pr o g r e s s s i o n c o n f o r m i n g to the c i r c l e of fifths, precedes
the fourth T h e m e B s t a t e m e n t of this section (Example 94,
measures 132-135). The h a r m o n i c p r o g r e s s i o n o f E Major,
A Major, D Major, and G M a j o r in th e piano provides a
refreshing harmonic change from t e r t i a n and stepwise
h a r m o n i c movement.
165
■ t o r n m Vff*T 3 {TJ}'
■
- rj . \— *i ilj
- C — J -------- P ---------------f t f -------------- J.a-a - j = J
g)! ■ j ---- ---------- 1------ 1-------- j -------1---- 1 i 1, r i
i- 4
1 H ^ -T — e -
1$ 1 - ' i -
i
-----------------------------------------------
M — r-^-i— — i— i 1
■>— --------H - 1-
itMd • ra-Ff
i-
dim.
rn------------ 0-- 3 -=
--e— _______ __ o---
1------- --------
ft
Exa m p l e 94. Paul Creston, piano concerto, mvt. II, measures

The second Theme B s e c t i o n concludes with a
sixteen - m e a s u r e c rescendo where the fourth a n d fifth
statements of T h e m e B b o t h begin in E-Flat M a j o r and use
the lowered se v e n t h the fol l o w i n g m e a s u r e (Example 95,
m easure s 137-141). This v i r t u a l rep e a t of m a t e r i a l
166
(as un u s u a l as the a f o r e m e n t i o n e d c i r c l e of fifths
progression) re p r e s e n t s a r a r e depa r t u r e in pract i c e because
Creston typically prefers to vary the material h a r m onically
or m e l o d i c a l l y w i t h every presentation.
I P T Y ' J . J)w ?-------be. ^ i. ~"j >
J * cr*j«. poc. a. p*e»
. H i i i l l i i r n
^ f rb ^ H ’!
"---------“ —
■g-t.__ ------ :------------- 1-----

y / 8 ■■■ -
J b-s-. % & = t:f - o-
crest, p c c a a p o t o
-r-j— j— — ,—
| i ' I I I -
f ■ 1 I t ■ M - 3 i i
W -- L
/m»--- bf-fo ^ * f" rtll- - - frf- - - - - - - - - -
^ if 1 H> bN =
h " f ?r r 'i
IP- t- i r r ?-t [bir r i - n -- ^T ^^ rL it»f LriL lX- j-
ft I 1 — r i ~ T '■ ri = : i \ j . ^
it 4
i
4-i4 bi-4-^ ti -i ^ i S (4: M - S J
Example 95. Paul Creston, p i a n o concerto, mvt. II, measures

1 67
T e n s i o n b u i l d s whe n the piano follows with a s c e n d i n g
s i x t e e n t h - n o t e D - f l a t Ma j o r a n E Lydian scales to a c c o m p a n y
prese n t a t i o n s of T h e m e B in the flutes a n d violins (Example
96). Also, the p i a n o p r o v i d e s an a c c o m p a n i m e n t f i g u r e
with i n t e r l o c k i n g sixths, r e m i n i s c e n t of Chopin ( m e asure
146), w h i c h adds to the brilliance.
Example 96. Paul Creston, p i a n o concerto, mvt. II, measures

1 68
A sequence, empl o y i n g the e i ghth-note e l e m e n t of T h e m e
B, is s t a t e d in the flutes a n d violins (Example 97, m e a s u r e
15C), horns a n d oboes (measure 151), and horns and c l a r i n e t s
(measure 152). It conc l u d e s with the final s t a t e m e n t o f
T h e m e B in this section w h i c h is a ugmented in the brass
w ith thick, p l a n i n g major c h ords b eginning at m e a s u r e 153.
Here, the t h e m e begins in A Major and finishes w ith an
E M a j o r c h o r d two measures later (a s uprising d o m i n a n t
h a r m o n y i n s t e a d of the p r e v a i l i n g lowered s e v e n t h c h o r d ) .
E x a m p l e 97. Paul Creston, p i a n o concerto, mvt. II, m e a s u r e s

169
This Theme B s e c t i o n conc l u d e s with a series of chords
in the woodwinds and h o r n s g e n e r a l l y employing c o n j u n c t
contr a r y motion in the o u t e r voi c e s (Example 98, m e a s u r e s
159-161). A tri-tone r e l a t i o n s h i p is established b e t w e e n
two sets of chords: c m i n o r m i n o r - 7 and an e n h a r m o n i c
f-sharp minor (a rare u s a g e of c onsecutive minor c h o r d s
in the concerto) and B - f l a t 9 and E7. The final D7 (measure
161) provides an e n h a r m o n i c n e a p o l i t a n cadence by w h i c h
the home key of the move m e n t , D - f l a t Major can return.
Examp l e 98. Paul Creston, piano concerto, mvt. II, measures

T h i r d T h eme A Section
The return of T h e m e A, in the piano, is m e l o d i c a l l y
and h a r monically s i m i l a r to m e a s u r e s 10-21 (Example 78
and 79). Marked "molto e x p r e s s i v o , " the melody, adorned
with pianissimo chords in the treble, is now a s s i g n e d to
the middle voice (Example 99, m e a s u r e s 163-165). T h e result
is a three-hand effect, w h i c h was widely practiced in
ninete e n t h - c e n t u r y p i a n o music. T h e purpose here, however,
is hardly indulgent; t h e a d d e d texture, combined w i t h the
170
two-n o t e slurs in the violins, intensifies and gives u r gency
to this return of T h e m e A.
Examp l e 99. P a u l Creston, piano concerto, mvt. II, measures

Theme B a p p e a r s in this s e c t i o n similar to its
introduction in the first T h e m e A s ection (Example 80).
Prece d e d by a bass line a n d fragments of Theme A that occur
in contrary m o t i o n in r e l a t i o n to each other, T h e m e B is
stated in B Major, F - s h a r p Major and G - s h a r p M a jor (Example
100, measures 176, 177 an d 179). Quart e r - n o t e triplet
accompaniment, s i m i l a r to the first T h e m e A section, begins
in the piano a t m e a s u r e 180, c u l m i n a t i n g on an F - f l a t 7
chord three m e a s u r e s later. This h a r m o n y cadences back
to a D-flat M a j o r and T h e m e A, however, in measure 184
(Example 101) p r o v i d i n g a s a t i s f y i n g elision. The com m o n
tone of an "A-flat," w h i c h acts as the third in F-f l a t
mm f 1 I I I
fib -jj£ *f a * f it it
=$ $ f=r m
i i “
4îÎ
i l l
3e
w
r «=f 1 r
= r=r=^ cifryf r»r*t r r
It I
fefe jfctj &
if*
¥ *
SE
\i >1^ * J i J
-a
f I
i©_
V ^ i j.%
^ r^ n -" -
i>i ■x- fc.?= ^ = ih lf T

^ J-0
g=ri-a^ rr
‘if f ¥ ■* f ?
■^2r
H
i
E x a m p l e 100. P a u l Creston, p i a n o concerto, mvt. II,
mea s u r e s 174-183. R e p r i n t e d by Permission.
172
Major, and a f i f t h in D - f l a t m a j o r provides the means for
the elision.
T h e final T h e m e A s t a t e m e n t in the piano frequently
features fourth chords s u p p o r t i n g the m e l o d y (Example 101,
measures 184-185). Theme B, in the oboe, is added to T h e m e
A b eg i n n i n g in mea s u r e 185, c r e a t i n g for the first time
in the m o v e m e n t a c o n c u r r e n t use of two t h e m e s . Theme
B provides for the D-flat h a r m o n y to d e s c e n d to the lowered
E x a m p l e 101. P a u l Creston, piano concerto, mvt. II,

meas u r e s 184-188. R e p r i n t e d by Permission.
173
seventh chord, C - f l a t Major (measure 186), which in turn
acts as a d o m i n a n t and resolves to an F - f l a t 7 the following
measure. The "A-flat," (the third of th e F-flat harmony)
in the mel o d y of the piano, is retained in m e asure 188,
as the Lydian e l e m e n t of an enharmonic E - d o u b l e - f l a t 7
(enharmonic D7 in the orchestra). The lat t e r harmony,
retaining the "A-flat," then resolves in the following
m easure to a D - f l a t 13 by a c t i n g as a neapolitan. This
smooth p r o g r e s s i o n of c h r o m a t i c a l l y - d e s c e n d i n g h a rmonies
is a penult i m a t e p r o g r e s s i o n before the final h a rmony of
the movement.
In the last six measures of the s e c o n d movement,
fragments of T h e m e A ascend a b o v e a rich D-f l a t chord in
both the left hand of the p i ano and in th e o rchestra
(Example 102). The thirteenth of the h a r m o n y is featured
in the final c h o r d of the m o v e m e n t which is mar k e d "ppp"
in the piano and "pppp" in the orchestra.
1 74
P ,q.:' U
?PP
<o
.-^•
-a~
■o S'
Example 102. Paul Creston, p i a n o concerto, mvt. II,

175
Movement III
M o v e m e n t Three is m a r k e d "presto" a n d uses a 6/8 meter,
the d o t t e d quarter note e q u a l l i n g 168-176. The m o v e m e n t
is an a d a p t e d five-part r o n d o form of "A B A C A Coda,"
and relies heavily u pon c o n t i n u a l r h y t h m i c m o t i o n with
rhythmic ma n i p u l a t i o n s in the B and C s e c tions adding to
the effect. The Coda, wh i c h merges the lyr i c a l melody
of the B sec t i o n with the r h y t h m of the A sections, driv es
the concerto to a s a t i s f y i n g finish.
Theme A S e c t i o n
The th i r d m o v ement b e g i n s wit h f o r t i s s i m o eighth notes
in the piccolo, flutes and hig h strings (Example 103).
H a r m o n i z e d by ch r o m a t i c a l l y d e s c e n d i n g s e v e n t h chords
b e g i n n i n g on a D7 wit h a sharp-11, the e i g h t h notes are
p h r a s e d to produce sets of three p itches w h i c h encompass
a mino r third. The piano e n t r a n c e at m e a s u r e 2 continues
wi t h the e i g h t h notes, hereafter called Rhythmic Motive-1
( R M - 1 ), whose propensity is to rise and fall in conjunct
m o t i o n throughout the m o v e m e n t in groups of threes. When
o c c u r i n g melodically, however, RM-1 of t e n e m p l o y s a
conspi c u o u s third w h e n the m o t i v e first enters, as in the
final two e i g h t h notes of m e a s u r e 3.
At measures 4 and 5, the piano b r e a k s into the tarantella
r h y t h m of a quarter note f o l l o w e d by an e i g h t h note (RM-2),
r e l i n q u i s h i n g RM-1 to the violas a n d cellos. Whe n RM-1
Reproduced with permission of the copyright owner. Further reproduction prohibited w ithout permission.
176
Theme A
mi
S^'*» ,tn
Example 103. Paul Creston, piano concerto, mvt. Ill,

measures 1-5. Rep r i n t ed b y Permission.
and RM-2 occur in succession, as in measures 2-5 in the
piano, Theme A is identified in its fullest form (RM-1,
when appearing alone, c e r t a i n l y is r e l a t e d to T h e m e A but
lacking the RM-2 as a "tail" is weak in thematic
distinction.)
Harmonically, the t h i r d movement is much less
restrained than the previous slow movement, resembling
instead the first movement w i t h its o f ten pungent,
fast-moving harmonies. F o r example, the eig h t h notes on
the strong beats in the piano, taking into a c c o u n t the
orchestral acco m p a n i m e n t (Example 104, measures 6-7),
represent the f o llowing harmonies: en h a r m o n i c E - s h a r p
minor-9, f-sharp Major-7, a n d G - sharp 9. The c o n f i g u r a t i o n
1 77
of RM-1 at this point, w i t h its melody de s c e n d i n g a minor
second followed by a leap downward , represents a b r i e f
appearance of an idea w h i c h asserts its importance later
in the movement.
Transitional m a t e r i a l is introduced by the p i a n o at
measure 8. T h e m e l o d y of this theme (stated in d o t t e d
quarter notes) a g a i n featu r e s three r i s i n g pitches

178
encomp a s s i n g a m i n o r third. This set of pi t c h e s occurs
frequently t h r o ughout t h e m o v e m e n t and is s t a t e d in three
phrases here (measures 8-13).
The frenetic pace o f i n t r o d u c i n g n e w m a t e r i a l c o ntinues
when the piano ent e r s w i t h a disti n c t t r a n s i t i o n a l theme
( T T - 1 ) at m e a s u r e 14. C h a r a c t e r i z e d by the s u d d e n
subdiv i s i o n of the m e a s u r e of four equal beats in the
left-h a n d (dotted e i g h t h - n o t e s ) , TT-1 is made m o r e s t r i k ing
by the placement of r i g h t - h a n d chords on the f i r s t and
last dotted e i g h t h - n o t e s (measure 14) and the d o t t e d
q uarter - n o t e (measure 15). T h e s e chords cre a t e a n unequal
s u b d i vi s i o n of two m e a s u r e s c o m b i n e d in the p a t t e r n of
3+3+2 and use the set of p i t c h e s which e n c o m p a s s the minor
third. This is an e x a m p l e of Cr e s t o n p l a c i n g his rhythmic
structu r e s in layers: The left hand r e p r e s e n t s the First
R h y t h m i c Structure and t h e r i ght hand r e p r e s e n t s the Fifth
R h y t h m i c Structure (see A p p e n d i x A).
The piano uses TT-1 to cl i m a x on an e n h a r m o n i c D9
with a seventh a n d a sharp - 1 1 both at meas u r e s 22 and 24
(Example 105). T h i s D h a r m o n y is similar to t h a t of the
first chord of the piece w i t h its unst a b l e feel d u e to
the extended h a r m o n i c t o n e s in the chord. The D harmony,
however, is short-lived: T h e ephemeral h a rmony succu m b s
to RM-1 in the c l a r i n e t s a n d violas to vi o l i n a n d w o o d w i n d
ac c ompa n i m e n t of p l a n i n g s e v e n t h chords (measure 25).
1 79
A D9 is a g a i n a c h i e v e d in measure 29, but acts as a
ne a pol i t a n and r e s o l v e s to a C - s h a r p m a j o r triad.

1]
v
L.
■
••
W -- rrfe---
1
1
M
U
ss^===#tS=np
W S --- ------
Exampl e 105. Paul Creston, piano concerto, mvt. Ill,

In E x a m p l e 106, T h e m e A appears in the piano o v e r
a repeated C - s h a r p M a j o r with a minor-9 (with the a d d i t i o n
of an en h a r m o n i c a u g m e n t e d fifth) in the orchestra. Theme
A in the r i g h t hand of the piano, d o u b l e d by the left hand,
is extended n o w by two additional phrases (measures 38-41)
w h i c h offer a m o r e c o m p l e t e version of T h e m e A.
180
Exampl e 106. Paul Creston, piano concerto, mvt. Ill,

measures 32-40. R e p r i n t e d b y Permission.
The piano uses RM-1 (melodically d o u b l e d in the left
hand) in r hapsodic fashion fo r the next thirteen measures.
Punctu a t e d by chords in the orchestra, RM-1 passes through
a variety of h a r m o n i e s which fully o b s c u r e any key
relationships. C h o r d s r e p r e s e n t e d from measures 41 to 45
181
(Example 107) include: D Major-7, C M a j o r w i t h a sharp-9
and, G-sharp 7, C7, A7, a n d B7. To c r e a t e a fluid sound,
C r e s t o n uses c o m m o n tones as a m e ans to m o v e from chord
to c h o r d often in a c h r o m a t i c m e d i a n t rel a t i o n s h i p . For
example, the C sharp-9 c h o r d (measure 42) shares a "D-sharp"
with the f o l l o w i n g G - s h a r p 7 harmony. Also, the C7 (measure
44) an d the A7 of the n e x t measure s h are an "E" and a "G."
■j-
Example 107. P a u l Creston, piano concerto, mvt. Ill,

measur e s 41-45. R e p r i n t e d by Permission.
The t r a n s i t i o n a l theme, T T - 1 , r e a p p e a r s at m e a s u r e
52, w i t h the d o t t e d e i g h t h - n o t e r h y t h m in the low strings
first, to which the cho r d s in a r h y t h m i c p a t t e r n
representing a 4.5 + 4.5 + 3 ratio (r e d u c e d to 3 + 3 + 2)
are a d d e d in the p i ano tw o measures later in E x a m p l e 108.
These TT-1 ch o r d s (which p r o m i n e n t l y o u t l i n e the set of
pitches again e n c o m p a s s i n g a minor third, "F-sharp,"
182
"G-sharp" and "A") can all be a n a l y z e d in E Major u n t i l
measure 56 w h e n the p i a n o has a G - s h a r p triad. The E
h a r m o n y a t t e m p t s to r e e s t a b l i s h itself at m easure 58,
w h e n RM-1 resumes, but this p r o v e s u n s u c c e s s f u l as a D-sharp
7 c h or d occurs in the f o l l o w i n g measure.
TP
ww
E x a m p l e 108. Paul Creston, p i a n o concerto, mvt. Ill,

m e a s u r e s 52-59. R e p r in t e d by P e r m i s s i o n
183
Creston provides an in teresting r h y t h m i c a cce l e r a t i o n
in Example 109. TT-1, p l a y e d in the rig ht hand of the piano
part against RM-1 in the left hand, takes two m e a s u r e s
to sound three m e l odi c notes (in a 3 + 3 + 2 ratio). In
m e a s ure 66, by means of h e m i o l a within the measure, the
m el ody is now a s s i g n e d to eq u a l quarter notes (and thus
take only one m e a s ur e to play three m e l o d i c pitches).
The latter, ident ifi ed as TT-2, resembles tran sit ion al
ma terial found in the o p e n i n g of the first m o v e m e n t (Example
45, measures 3-4).
TT-2
Exam pl e 109. Paul Creston, pian o concerto, mvt. Ill,

TT-2 in d i m i n u t i o n is s t a t e d in the piano b e g i n n i n g
at m e a sur e 75 (Example 110) a n d terminates three m ea sures
later with the leap of an o c t a v e to an ac ce n t e d A9 chord
184
on the second beat. RM-1 accompanies in the violins.
TT-2 in d i m i n u t i o n is somewhat similar to the rhythm
associated w i t h Theme A of the first m o v e m e n t with three
fast notes e m p l o y i n g a neighbor tone f o l l o w e d by a longer
note (Example 47).

The a c c e n t i n g of the second beat p r o v i d e s a syncopated
rhythmic d rive used to conclude the A s e c t i o n (Example
111, measures 90 and 94). This idea o r i g i n a t e d in m eas ur e
78 (Example 110). An arpeg gia te d passage, preceding the
final climax, a l s o helps to return the m e l o d y to a low
register (Example 111, measures 92-93). S i m i l a r to the
first movement, Cr es ton prefers to lower the register to
prepare for an u p co min g climax (Example 73).
f
185
E x a m p l e 111. Paul Creston, p i an o concerto, mvt. Ill,

m e asu res 90-94. R e p r i n t e d b y Permission.
T e n s i o n builds with RM-1 in the vi ola c o n f i g u r e d to
d e s c e n d i n g eighth notes w h i c h repeat the third an d fourth
e i g h t h - n o t e pitches (Example 112). T h e piano, utilizing
Ex a m p l e 112. Paul Creston, p i a n o concerto, mvt. Ill,

measu res 98-102. R e p r i n t e d b y Permission.
186
ninth a n d t h i r t e e n t h chords, follows with a "sforzando"
D7 (measure 102), the o p e n i n g h a r m o n y of the movement.
This h a r m o n y is p r e c e d e d by a rare C r e s t o n us a g e of a
do mi n a n t t h i r t e e n t h chord.
RM-1 , in the w o odw ind s and u p p e r strings, provides
the m e a n s by w h i c h the A section c on c l u d e s (Example 113).
In this b rie f tutti (again marked b y an initial lowering
of the register) the low strings p l a y a stepwise b ass lin e
(aside fr o m t he o c t a v e displ ac eme nt a t m e a sur e 105) that
g e n e r a l l y mov es in c o n t r a r y motion to the horns in pla ni ng
ninth chords. T h e p e n u l t i m a t e ch ord of the series, on
beat 2 o f m e a s u r e 108, dispenses w i t h the n i n t h chords,
instead o f f e r i n g a G7, which provides a n e a p ol ita n cadence
into an F - s h a r p triad. The c on c l u s i o n of the A section
(Example 114) is m a r k e d by the use o f extreme registers.
A high " F -sh arp " is in the flutes; a low "F-sharp" is state d
in the l o w o r c h e s t r a l instruments.
/o-»
Example 113. Pau l Creston, piano concerto, mvt. Ill,

1 87
Theme B Section
T h e Theme B s ect ion b e g i n s with a four-measure
or c h e s t r a l o s t i n a t o which p r o v i d e s the basis for this entire
c o n t r a st ing se ct i o n (Example 114). T h e divison of the
meas u r e into four equal do tt ed - e i g h t h s (associated with
T T - 1 ) is again featured. Th e previous 3 + 3 + 2 rhythm
ratio of T T - 1 , no w extended to a 3 + 3 + 3 + 3 + 2 + 2
pa t t e r n of four me a s u r e s (the Fifth R hy t h m i c Structure),
is s t ren gt hen ed by first i n v e r s i o n triads in the bassoons,
horns a n d trumpets. The tr ia d s are s l u r r e d according to
their re sp ect iv e groupings: w h e n in three, the melod y
obser ve s the n e i g h b o r tone i d e a of TT-2. The bass line,
stated in quarter notes in the lower o r c he st ral instruments,
m a i nta in s the 3 + 3 + 2 grouping (the F i fth Rhythmic
Structure) of TT-1 via accents. The re su l t of these
rhyth mic m a n i p u l a t i o n s is the ironic s en s a t i o n of feeling
the m u s ic in four-m ea sur e g r o u p s — psychologically, a
co n s i d e r a b l y slower pace than the previous one-measure
feel.
T h e harmonic structure of the third movement, which
thus far has been q u i t e u ns tab le if not indeterminable,
is immedia tel y c l a r i f i e d in the ostinato, to the extent
of be ing analyzed by tradit ion al symbols in the key of
F-sharp Major: F-sharp (I), B Major-7 (IV MAJ7),
g - sharp 9 (ii9), C-sharp (V, w i t h the d o w n b e a t as an
188
appoggiatura) and e n h a rmo ni c G7 (N6 ha rm o n y in root po s i t i o n
with a seventh).
'y0fr' '*■
3 Nft" # I
Example 114. Paul Creston, p i a n o concerto, mvt. Ill,

The piano enters the B s e c t i o n w ith a f i f t e e n - m e a s u r e
melo dy in the r ight hand (Theme B) w h ic h is div id ed into
note values that a s s u m e a d u p l e d i v i s i o n of the m e a s u r e
(Example 115). An e x cep tio n o f this occurs when the m e l o d y
breaks into q u a r t e r notes w h i c h e m p l o y the n ei ghb or tone
idea of TT-2 (measures 125 a n d 127). In this passage,
ar p e g g i a t e d do tt e d eighth notes in the left hand a c c o m p a n y
the r igh t-hand melody. With a r a ng e of more than two
octaves, this figure affords T h e m e B an expans iv e feeling.
The first s t ate me nt of T h e m e B, in F-sharp Major,
terminates via a lo wer ed seventh, an "E" in m ea s u r e 132
(harmonized as C - s h a r p 7 with a split third). This h a r m o n y
descends stepwise to a low ere d s ixth of the F- s h a r p M a j o r
harmony, a "D" (harmonized as a G7). Finally, the m e l o d y
concludes with a "C-sharp," the fifth of the key. Th ese
harmonies provide an almost S p a n i s h touch to this statement.
189
Theme B
© V ' ji:
W i t t
.1
E x a m p l e 115. Paul Cr es ton , piano concerto, mvt. Ill,

m e a s u r e s 121-133. R e p r i n t e d by Permission.
190
The second s t a t e m e n t of T h e m e B is e i g h t measures
long and in the key of D Major (Example 116), a tertian
relationship with t h e first statement. T h e orchestral
ostinato has been transposed, bu t is vari ed significantly
in the 2 + 2 portion (measure 140). The enharmonic B-flat
7 on the secon d beat of this m e a s u r e provides pitches which
chro ma tically r eso l v e to the D M a j o r harmony: "E-sharp"
and "G-sharp" both fu n c t i o n as leading tones to "F-sharp"
and "A."
'-r
Example 116. Paul Creston, pi ano concerto, mvt. Ill,

A third stat eme nt of Theme B is preceded by an
enharmonic B-flat 7 w h i c h acts as a ne apo li tan cadence
(Example 117, mea sur e 144). H ar m o n i z e d in A Major, T heme
B is rendered more am b i g u o u s by the "F-sharp" present in
the left-hand a c c o m p a n i m e n t at m e a s u r e 146. The muted
191
horns snd trumpets which now rel i e v e the strings of the
triadic harmonies, are of interest in this statement.
Also, a rare appoggiatura in the m e l o d y of the piano
(a "B" at m e a s u r e 153) adds p o ign an cy since Creston's
pr e f er enc e for "smooth" dis sonance in a pantonal setting
often p recludes these "proper" resolutions.
cresc.
r
m
-7 -
Ex ample 117. Paul Creston, piano concerto, mvt. Ill,

measures 144-153. Reprinted by Permision.
192
A fourth, and final st a t e m e n t of T h e m e B is in F Ly dian
and is p r e c e d e d by a B- flat 7 c h o r d wh ich functions as
a s u b d o m i n a n t cadence (Example 118, measures 160-161),
d e c e i v i n g the listener's e x p e c t a t i o n s that it will r e s o l v e
as a n e a p o l i t a n such as the p r e v i o u s sta t e m e n t (Example
117). This final Theme B s t a t e m e n t is m a r k e d by a rh ythmic
a c c e l e r a t i o n in the m e lod y from d o t t e d q u a r t e r notes to
q u a r t e r notes (Example 118, m e a s u r e s 163-164).
measures 160-164. Repri nte d by Permission.
A t r a n s i t i o n begins, at m e a s u r e 169, whe re the
cont inuous e i g h t h notes of RM-1 r e t u r n in the piano (now
a tenth a p a r t ) . A c c omp an yin g in the o r c h e s t r a are p i z z i c a t o
strings (Example 119). RM-2 follows, w r i t t e n for the right
hand of the pi a n o in inte rlo ck ing i n t erv al s that c r e a t e
seventh chords w i t h the left-h an d bass (measures 173-174).
193
B e g i n n i n g with m e a s u r e 173, RM- 2 eng a g e s in con sec ut ive
d e s c e n d i n g ter ti an harmonies: F7, D Major-7, B-f l a t Major-7,
and e n h a r m o n i c a l l y , f-sharp.
'#*: (jt
—
■f f Pi TTT J * 7 ^
— MJ
,Lu------- — =—i
[=82-- ■ ■ * _ g — 2 i
$
' J ?P
z i-4 = E = z z i« .z = y
w m
C'«C. ?
Jt
m
i
& n w
Ct* It
TP
* Sjn zzj-Ahtt
Example 119. Paul Creston, p ia no concerto, mvt. Ill,

measu re s 169-175. Reprin te d by Permission.
In E x a m p l e 120, Theme B m a k es an a b b r e v i a t e d e n t r y
in the p i a n o at m e a s u r e 180, a c c o m p a n i e d by a s trange
194
ybt
<&°) Ste:
£e
b3
E x a m p l e 120. Paul Creston, piano concerto, mvt. Ill,

m e a s u r e s 180-192. R e p r i n t e d by Pe rmission.
1 95
v a c i l l a t i o n between A M a j o r a n d A A u g m e n t e d in the piano
an d brass accompaniment. An i n t e r r u p t i o n of RM-2 in the
c l ar i n e t an d high strings fo ll ows for two-measures a nd
is short-lived: the piano a g a i n states Theme B a c c o m p a n i e d
by the brass in B-flat M a j o r (measures 185-191). A t measure
188, the bass line in the p i a n o a nd trombone c h r o m a t i c a l l y
a s c e nd s to a "B-natural," e v e n t u a l l y a c hi ev ing a "C-sharp"
by m e a s ur e 191, after wh i c h RM-1 (with RM-2 in the violins)
e m bra ces C - s har p Ma jor for six measures.
Theme B makes its final a p p e a r a n c e in the T h e m e B
s e c t i o n on a fi fte en- m e a s u r e pe dal on C - s h arp Ma j o r (Example
121). To a "smooth" C - s h a r p 9 a c c o m p a n i m e n t p a t t e r n in
the left han d of the piano part, the right hand d i s p a t c h e s
horn fifths at measure 201, an d h a r m o n i c fragments incl ud ing
a thi rte en th two measures later. Th e violas a c c o m p a n y
this pass age with r e p e a t i n g RM-1 patterns.
m ■— ^ _i—
HjJ- i t - > “
m = - - ^ f$F=A
b.,__ ^ ^
2jr:----
^ 4 ---
E x a m p l e 121. Paul Creston, pian o concerto, mvt. Ill,

m e asu res 199-203. R e p r i n t e d by Permission.
1 96
Second Theme A Section
A tw e n t y - n i n e m e a s u r e tutti, c h a r a c t e r i z e d by the
a l t e r n a t e use of RM-1 and RM-2, marks the r e t u r n of the
A section. A l m o s t s o u n d i n g improvised, the viola s issue
wh i r l i n g pa tte rn s of RM-1 to v a r i o u s p a n t o n a l harmonies.
In one phrase ( Ex amp le 122, measures 228-232), e v er y m a jo r
har m o n y b etw e e n and i n c l u d i n g C M a j o r and F- sh a r p Major
is represented. Creston, t h r o u g h o u t the o u ter m ovements
of the concerto, has shown a p r e f e r e n c e for fast-moving,
m a j o r harmonies in n o n - l y r i c a l sections.
* E x a m p l e 122. P a u l Creston, pi ano concerto, mvt. Ill,

mea s u r e s 228-232. R e p r i n t e d by Permission.
Prece di ng the e n t r a n c e of the piano, the low strings
lapse into d o t t e d e i g h t h - n o t e s a s s o c i a t e d w ith TT-1,
ha r m o n i z e d a m b i g u o u s l y as A M a j o r / A A u g m e n t e d (Example
123). This r h y t h m was r e c e n t l y seen in the brass at
me as ure s 180-182 (Example 120). The pi ano 's insistence
on T h e m e A, c o m p l e t e wi th b o t h RM-1 a n d RM-2, provides
an interesting r h y t h m i c j u x t a p o s i t i o n w i t h the orchestra;
the m a i n beat is a g r e e d upon, but the s u b d i v i s i o n in the
1 97
p i ano (six eighth n o t e s per measure) and in the l o w strings
(four dot t e d eighth notes p e r measure) is conflicting.

This Theme A s e c t i o n b e ars similarity to the
c o r r e s p o n d i n g place in the previous Theme A s ect i o n by
u s i n g the unequal s u b d i v i s i o n of TT-1 to direct the section
to TT-2. Preceded b y RM-1 in a figure us ing an A Lydian
scale, TT-1 begins w i t h an E9 harmony (Example 124, measures
266-267) but suddenly turns to C-sharp M a jor at m e a s u r e
268, cr ea t i n g a pedal for the next five measures (this
h a r m o n y is blurred, however, b y the insistence on "A" in
the low strings w h i c h creates the imposed a ug m e n t e d
harmony).
m e asu res 265-269. R e p r i n t e d by Permission.
Beg i n n i n g at me a s u r e 270, TT-1 is d i spl ay ed in the
right hand of the piano part in a d d e d-n ote chords
hi g h l i g h t i n g a major se ven th (Example 125). This
t r ans iti on al theme, a c c o m p a n i e d by RM-1 in the violas and
cellos, soon yields to TT-2, in q uar t e r notes (measure
274). TT-2 is i n t r od uce d in this section on an en ha rmo nic
D7 har mo ny and a c c o m p a n i e d by RM-2 in the clarinets.
F e a t u r e d next is the a c c e n t e d leap upward on beat two
(me asu re 276).
1 99
11 g&ElSj?:— - f — I— t—J--- F---

^ -- ----
% A r
1) poco crejc.
f a t e
N
1 ?F *a•
te.i!oi ±
'!$)
f+nn— n — — r--- f— ^ 4 ^ — ^—
£J~3==i—
cy--.----- If---
•-|-| —1 I ^ U i ~
yjr#.£iEy
r— t-- — . —- ----- =,---- =e>=

p : f p Jiyr— 1 = * 1 ~ — l i T - ^ •]§;-----^ H ii -t4 -~
*| ^ I
fe----.. r w — >1---- I*—
M
liJ-- <=7--- --■«*- -J-
— j-
i=s4
E x amp le 125. Paul Creston, piano concerto, mvt. Ill

m ea sur es 270-279. R e pri nt ed by Permission.
In Exa mp le 126, the a c c e n t e d leap in the piano reflects
interval expansion, adding to the tension. Th e leap of
a tenth, in measure 292, is u se d to p r o j e c t a dis so nan t
F - s h a r p with a flat-9, s p l i t - t h i r d chord. T w o measures
later, the same chords in the r i g h t - h a n d p i a no part are
200
an o c t a v e further apart (and are h a r m o n i z e d as an e n h a rmo nic
C7, a tri-tone f r om F-sharp).
___ - —
i — i— t f ---- r----" "
f e r v ^ ‘ 1 • 4 ' --------
H
------- a - 4 * -
W f " - n1 —
ip s * 31
It \ E£33Sd!S3-.-. r
. T : : -------- ----
- T = --------- —
— ----------- p ---------

m e a s u r e s 292-295. Rep r i n t e d by Permission.
Th eme A is state d once ag ain in the piano against
a h i g h l y d i s son ant harmony o f an e n h a r m o n i c D M aj o r - 7 with
a split fifth (Example 127, measures 301-303). F ollowing
the dis son an ce is a series of parallel m i n o r cho rds in
the piano, on be ats one a n d two of the t a r a nte ll a rhythm
of R M-2 (measures 309-310). These are a c c o m p a n i e d by
trem el o in the strings. This is the o n l y instan ce of
pa ra lle l minor chor ds in e i t h e r the c o n c e r t o o r the F a n t a s y .
Th ese m i n or chords impart a n almost s c h i z o p h r e n i c mood,
c a u s i n g a m o m e n t a r y loss of harmonic balance.
<£jp)
22?
p i
7
c r c ic J /'
ELI-
IF
srn^-a-," ik ^Ttfêio
l p l = p ? |P S
oi«]c "
g=
E x a m pl e 127. Paul Creston, piano concerto, mvt. Ill,

me as ure s 301-310. R ep r i n t e d by Permission.
Aft er ex changes b e t wee n RM-1 and the n e w m ino r c h or ds
of RM-2, RM-1 gains control at a cadence on a D M a j o r chor d
with an enarh mo nic minor-9 (Example 128, m e a s u r e 323).
R e p e a t e d de s c e n d i n g RM-1 patterns, first in the flutes
an d the violins and then in the oboe, clarinet and strings,
p r e c e d e the arrival of a B9 wit h a s h a r p-1 1 in the br ass
202
and piano (measure 327). On this harmony, the piano states
a series of chords w hich are an a ma lga m a t i o n of: 1. The
neighbor-tone idea of TT-2; 2. T h e c h ro ma tic ism of the
ostin ato of the Theme B section; and 3. The contour of
a rhythmic m o t i v e in M o ve men t O n e (Example 47, measures
26-27).
© —
WtJi--- c--- K ---
L'CT F r
______ -Pt-re* * v|< -

/ oca? c l 3 r . % sw.
f = f= ¥ ¥ tF r = r
:=jiFr T
? r,..»FT % ------
P W 1
ClCtC.
d ^ = s H = J
-- j------ —i------- 1
------- 1
bras
it ! 1 ■"'h i ■i Pi r"
** * * - c f f t :
C ar- Crete.
\ 1!? • i — 0 t------- f)----1----- l i r n ^ g
■A
-r
- -i-
T t 1 = i k z
Exam pl e 128. Paul Creston, piano concerto, mvt. Ill,

203
F o l l o w i n g a n o t h e r e x c h a n g e of RM-1 in the s t r i n g s
and w oo d w i n d s a n d the c h o r d s in the piano a nd brass, the
piano has the final w o r d in the second T h e m e A s e c t i o n
(Example 129). A se ries of full chords, generally
d e s c e n d i n g in t e r t i a n r e lat ion sh ips , e mploy a lower
n e i g hbo r-t on e p a t t e r n o v e r a B - f l a t pedal in the s t r i n g s
and timpani. Dissonance is f r eel y used an d the m o s t
d i s s o n a n t chord o f a b i t o n a l passage occurs in m e a s u r e
339 where, on beat one, the ri g h t hand of the piano p a r t
plays a D major t r i a d w h i l e the left hand states a s e c o n d
in v e r s i o n g minor triad.
Exa mp le 129. Paul Creston, pia no concerto, mvt. Ill,

measu re s 335-339. R e p r i n t e d by Permission.
T h e m e C Se cti on
Th e Theme C s e c t i o n r e p r e s e n t s the s e con d c o n t r a s t i n g
section of the t h i r d m o v eme nt. Like the T h e m e B s ec tio n,
204
it too features a n or c h e s t r a l os ti n a t o with a unique
rhythmic pattern (Example 130). The m e t e r in the o rc h e s t r a
is c h a n g e d to 3/4 and a c c e n t s are pla ced on beat one of
me asure 346 and beats two of the f ollowing two measur es
creatin g a 4 + 3 + 2 p a t t e r n o v e r three measures (the F i f t h
Rhyth mic S t r u c t u r e — see A p p e n d i x A). Dissonance prevails
in the ostinato, with the d o w n b e a t of measure 346
T h eme C
r e
■>
*
•r t -r
------ -
g M p =
A . ..... d
If ^ 5 —)--- -!---
t:f --- .
T > > *i> i
m w m
Example 130. P a u l Creston, p i ano concerto, mvt. Ill,
205
representing a d minor Ma jor -7 w i th an en ha rmonic minor-9.
The downbeat o f measure 347, which adds a split third,
is even more dissonant.
The vivid contrast provided by this ostina to is
enhance d by the piano, w h o s e meter has been cha ng ed to
2/4 (not 3/4 as in the orchestra). Hence, the piano's
qu ar ter notes are longer than the or c h e s t r a ' s by a ratio
of 1:1.5. Th is creates a scenario w h e re the piano and
orche st ra are a lig ne d o n l y on the d o w n b e a t of each measure.
The melo dy in the p i a n o (Theme C), prece de d by
t h i r ty- sec on d-n ot e arpeggios of F M a j o r and F- sha rp Major,
is dispatched in brill ia nt fashion w it h chords in both
hands. The "A" and "G-sharp" m elodic pitches of Theme
C (measure 350) are de ri ved from the first two melodic
notes of the ostinato. A t measures 353-354, when the
"G-sharp" is e m p l o y e d as a neighbor tone, the af fin it y
of Theme C wi th TT-2 is assured.
Theme C a c hie ves a "D" (Example 131, measure 364)
and proceeds to fall to a "E-sharp," before cl i m b i n g up
stepwise to an "A." T hes e melodic pitches, which anticipate
the closing idea of the movement, w e r e also utiliz ed in
the Theme B s e c t i o n (Example 115, m e a s u r e s 121-124).
Indeed, with the si milarity of the c o n f i g u r a t i o n of the
melody, and the e m p l oym en t of an ostinato, an a rgu me nt
co uld be tendered that the contrast ing sections represent
two Theme B sections. However, be c a u s e of the considerable
206
d i f f e r e n c e in the piano writing, coupled w it h the d i f f e r e n t
o s t i n a t o patterns, this a u t h o r has ele cte d to desig nat e
the sections as "T he m e B" an d "Theme C."
Exam pl e 131. Paul Creston, piano concerto, mvt. Ill,

measu res 364-368. R e p r i n t e d by Permission.
T h eme C d i s p e n s e s w i th chords in the right hand of
the piano part a n d is r e d u c e d to one m elodic note be g i n n i n g
in mea s u r e 376 (Example 132). A left-hand ac c o m p a n i m e n t
pattern is ado p t e d wh ich is in o v e r l a ppi ng slurs of three
eighth notes. T h is is an e x a m p l e of Crest on' s Fourth
Rh yt hmi c Struc tu re (see A p p e n d i x A). At this point, the
ostinato, le ft-hand a c c o m p a n i m e n t and ri gh t-h an d melody
are all in d i f f e r e n t rhy t h m i c p a t t e r n s — but, in
thre e- measure p h r a s e s (ensuring that at every third m e a s u r e
beat one aligns). This r h y t h m i c com plexity is very sim i l a r
207
to a pa ss age in the F an t a s y (Example 26) where t h e r e are
al so th ree layers of r h yth mi c activity.

T h e m e C, in E x a m p l e 132, begins o n the m aj or seventh
of a d - f l a t minor c h o r d w it h a sharp-11 (measure 376),
to w o o d w i n d a c co mp ani me nt in the ostinato. in the second
T h em e C statement (Example 133), however, the m e l o d y begins
on an enharmonic sharp-11 of the new F — flat M a j o r — 7 harmony.
A c t i n g as a neapolitan, this chord s o on shifts to E-flat
Major (where RM-1 begins in th e piano in measures 396-397).
This harmony, in turn, be c o m e s a neapo li tan of an ad dit ion al
s t a t e m e n t of Theme C that b e g i n s with a melodic "A" (measure
397). Ha rmonized as a D Major- 7, the underlying o st i n a t o
is no w transfer re d to the strings.
208
rF----
-
— — -If 1., 1 -----

, ^
Jtjj-J-Jbj i-t;- —f—*j— — tal-- —
Pr r ->r £ r~j-- J
|^ 5 = t= r p; ~ rr bp■- ‘
^= - 4 = f c
TZf 7 T f

measures 385-387 and 395-399. Reprinted by Permission.
Theme C is next p r e se nte d on a B7 harm ony (Example
134, m easure 418), with the "A" retained as the b e g i n n i n g
m e l o di c pitch an "A." The thicker texture and w i d e r range
of the piano writing adds to the tension of this statement;
the reversion of the o st i n a t o to the woodw ind s p rov i d e s
a change in color.
209
§ # i = *.—r
_r--—— 8p»—i -------------
mp
r- r~=r
•
» w/W---- >—--- T _ — _^
< t«l
T -----
"P ___----- -
[A
II
— , nJ ^
4

measures 418-422. Re p r i n t e d by Permission.
The woodwinds rel i n q u i s h the o s tin at o p a t t e r n at
measure 428 and the strings adopt a 2/4 meter, the same
meter of the piano for the previous 88 measur es (Example
135). This allows the a s c e n d i n g triplets of RM-1 in the
piano to be easily heard o v e r light chordal accompaniment.
RM-1 shifts to the low st rings at me as u r e 432 w h ere a D9
chord in the piano insists on the "A" in the u p p e r voice
(retained from the previous B7 harmony.)
21 0
% *•»< i*
i p i
* t £ r
Ui-
S-fninS-S^
strÂ
( p E jll
?• V
a *
'Oirdn
Ex am ple 135. Paul Creston, pi ano concerto, mvt. Ill,
measu re s 428-432. R e p r i n t e d by Permission.
T h i r d Theme A Section
Both o r che str a a n d piano rev e r t to the o r i g i n a l 6/8
m e ter at m e a s u r e 438, w i t h a s t r o n g E M a j o r - 7 c h or d (Example
136). This harmony is a somew hat s t a rt lin g r e s o l u t i o n
of the lowered seventh chord (D9) from the previ ous measure,
but allows the "A" to at last re so l v e to a " G - s h a r p ” in
the piano. The return of the T h e m e A sec t i o n is m a r k e d
i n it ia lly by the trip let s of RM-1 in the p i a n o w h i c h ut ili ze
an E lydian scale. T h e horns a n d strings s i m u l t a n e o u s l y
play the d o t t e d - e i g h t h rhyt hm a s s o c i a t e d w i t h TT-1, to
wh ich the following pan t o n a l c h o r d s are o utlined: E Major,
D - s h a r p 7, C- sh a r p 9, a nd an e n h a rm on ic C7 w i t h a rai s e d
fourth (measures 439-440).
ho m i
Exam p l e 136. Paul Creston, piano concerto, mvt. Ill,

mea s u r e s 437-440. Rep r i n t e d by Permission.
In m e a s u r e 451 {Example 137), the end of a lengthy ’r '4
series of RM-1 suggests a C- sharp m i n o r - 9 h a r m o n y but an
enh a r m o n i c D7 oc c u r s in the fol lo win g me asu re (the "G-sharp"
in the low strings and left hand o f the piano adds to the
Ex am ple 137. Paul Creston, piano concerto, mvt. Ill,

m ea sur es 451-455. R ep r i n t e d by Permission.
212
harmonic a m b i g u i t y ) . W h e n RM-1 resumes with the c o nspicuous
skip sometimes f o u n d in th e melody, it is h a r m o n i z e d as
an A M a j o r - 7, the D7 thus s e r v i n g as a s u bdominant cadence.
T T - 1 , with its 3 + 3 + 2 rhythmic ratio, a p p e a r s next
in the piano, h a r m o n i z e d as a G - sharp 7 in measure 459,
and a G-sharp m i n o r - 9 in t h e following measure (Example
138). TT-1 o u t l i n e s the m e l o d i c pitches of "F-sharp,"
"G-sharp" and "A" in the p i a n o with the resolution to
"G-sharp." T h e s e p itches f o r e s h a d o w the c o n c lusion of
the movement, bu t in this i n s t a n c e the latter p i t c h resolves
to an A M a j o r - 7 a n d not an E Major chord as in the final
material of this movement. An inte r j e c t i o n of RM-1 in
the strings and w o o d w i n d s prece d e s a second TT-1 s t atement
(measure 463) that is h a r m o n i z e d as B7, a mediant
relationship with the first TT-1 statement.

21 3
A final TT-1 s t a t e m e n t be g i n s in the piano in a low
regist e r (Example 139). H a r m o n i z e d by the strings o n an
e nharmonic F Major flat-9, chords in the r i g h t - h a n d of
the piano part g r a d u a l l y ascend to a higher register,
achieving, in m e a s u r e 4 75, the E M a j o r h a r m o n y w h i c h was
evaded in m e a s u r e 461 (Example 138). The E Major-7
continues for four m e a s u r e s by RM-1 in the piano.

21 4
T h r o u g h the u s e of a com m o n tone (" G - s h a r p " ) the E
Maj o r - 7 becomes G - s h a r p 7 on beat two of m e a s u r e 479
(Example 140). The piano writing, a c c o m p a n i e d by the brass,
becomes i n c r e a s i n g l y v i r t u o s i c with full e i g h t h - n o t e chords
which a r e in m e l o d i c i n v e r s i o n to m a t e r i a l f o u n d in the
b e g i n n i n g of the m o v e m e n t (Example 104, measu r e s 6-7).
Melod i c notes h i g h l i g h t e d ar e again "F-sharp," "G-sharp,"
and "A" (similar to E x a m p l e 138, m e a s u r e s 459-461).
Example 140. P a u l Creston, piano concerto, mvt. Ill,

measur e s 479-482. R e p r i n t e d by Permission.
RM-1 fragments t e r m i n a t e on a D7 chord at measure
485 (Example 141). A n RM-1 statement in the p i ano follows
h a r m o n i z e d by the o r c h e s t r a in a se r i e s of s e v e n t h chords:
D 7 , F 7 , B 7 , and e n h a r m o n i c B-flat 7. This is the final
time RM-1 a p pears i n the p i a n o in a n o n - c h o r d a l capacity.
On beat two of m e a s u r e 489, an en h a r m o n i c D m i n o r - 9
21 5
is announced in the orchestra, o v e r which the piano repeats
the "F-sharp," " G - s h a r p ” a n d "A" in the upper voice in
eighth-note chords. In this instance, a sense of impending
clima x is a t t a i n e d by u s i n g m o d i f i e d sequential repetition.
The phrase begins o n a "G-sharp" a t measure 491, and a
"B-sharp" at m e a s u r e 493.
u m
i
A
rW-
E x a mp l e 141. Paul Creston, piano concerto, mvt. Ill,

21 6
A final p a t t e r n of ascending c h o r d s increases the
tensi o n in p r e p a r a t i o n for the last m e l o d i c s t atement of
the movement (Example 142). The chords, which ascend by
minor thirds as dictated by the bass note, all contain
a minor seventh an d a m i nor ninth. B e g i n n i n g in measure
499, m a x i m u m te n s i o n is created when an "E-sharp" is in
an ostin a t o in the bass for four m e a s u r e s with "F-sharp"
and "A" a l t e r n a t i n g in the melody in the piano.

measures 495-499. R eprinted by Permission.
A cting as a neapolitan, the E - s h a r p chord resolves
d e c i si v e l y to an una d u l t e r a t e d E M a j o r triad w i t h "G-sharp"
in the melody, filling in the skip l e f t by the "F-sharp"
and the "A" (Example 143, measures 502-503). T h i s strong
resolution, a f f i r m e d by a clear E M a j o r triad in the brass,
conveys to the listener a sense of f i n a l re s o l u t i o n and
217
long-a w a i t e d s t a b i l i t y of key. In a n o t e of triumph, the
piano proceeds to procl a i m Theme B in bri l l i a n t fashion.
The af f i n i t y b e t w e e n this s t atement a n d that in the Theme
B section is s i g n i f i c a n t (see E xample 115). B o t h melodies
begin a s c e n d i n g w i t h the seventh of the scale of their
respec t i v e h a r m o n i e s (Example 143, m e a s u r e 504), both
contain an u n e x p e c t e d lowered third (measure 506),

218
and bo t h u t i l i z e a 3/4 hemiola (in m e a s u r e 507 w i t h the
sixth d e g r e e as a n e i g h b o r tone, and in m e asure 509 with
the se v e n t h d e g r e e as a n e i g h b o r t o n e ) .
A f ter two a d d i t i o n a l abbrev i a t e d e ntries of T h e m e
B, the n e i g h b o r tone c omponent of Theme B ascends,
e n g e n d e r i n g the f o l l o w i n g harmonies: E Major, A7, E Major
and E6 (Example 144, measures 517-520). In m e a s u r e 523,
Exampl e 144. P a u l Creston, piano concerto, mvt. Ill,

measure s 517-526. R e p r i n t e d by Permission.
219
a B Augm e n t e d c h o r d is stated in the piano, w o o d w i n d s and
strings. An e n h a r m o n i c F7 (neapolitan) pedal in the brass,
which is m a i n t a i n e d for the f o l l o w i n g twelve measures, underlies
this harmony.
A virtuousic chordal d i s p l a y is s t a t e d in t h e piano
with full, e i g h t h - n o t e chords in E x a m p l e 145. The following
harmonies occur o v e r an e n h a rmonic F7 pedal: B Major,
enharmonic c minor, D augmented, s e c o n d inversion a-sharp
minor, and A augmented. Th e s e chords are followed by a
series of c h r o m a t i c a l l y d e s c e n d i n g c h o r d s in the left hand
of the piano b e g i n n i n g at m e a s u r e 536 w h i c h add c o l o r to
the conclusion of the passage. The p e n u l t i m a t e c h o r d of
the movement, a B9 (in the right hand of the p i a n o part)
over an F Major triad, suggests bitonality. An RM-1
flourish in the w o o d w i n d s a n d strings leads to the
resolution of the b itonal chord. The concerto concludes
with an E Major t r i a d in a "fff" d y n a m i c range in both
piano and orchestra.
220
p - — j
*)«----- --------
\pp^ - I-
•u - -f- 4- 4-4-
r r. t- t- P- V tf— *,— *. --
— =* r— h
f i f e m 4 —1
/ ~ ~ ~ /

measure s 528-540. Reprinted by P e r m i s i o n
221
Summary
Th e C o n c e r t o for Piano a n d O r c h e s t r a , Op. 43 is a
twenty - m i n u t e piece b a sed on a t r a d i t i o n a l t h r e e-movement
desi g n (i.e., fast slow-fast). This v i r t u o s i c c o n c e r t o was
comp l e t e d in 1949 an d a d heres to r h y t h m i c a n d harmo n i c
tenets e s t a b l i s h e d by C r e s t o n in the e a r l i e r F a n t a s y for
Piano and O r c h e s t r a , Op. 32. R h y t h m i c buoyancy, e s p e c i a lly
in the o u t e r m o v e m e n t s creates a s e n s a t i o n of e n ergetic
restlessness; the p a n t o n a l h a r m o n i c l a n g u a g e yields many
inventive harmo n i c pro g r e s s i o n s , mak i n g t h e rare
d o m i n a n t - t o n i c r e s o l u t i o n s e e m u n p r e d i c t a b l e and fresh.
The first m o v e m e n t of the c o n c e r t o is based on the
so n a t a - a l l e g r o p r i n c i p l e of tw o c o n t r a s t i n g themes, one
agitat e d and angular, the o t h e r more lyric a l . The
in t e g r a t i o n of four r h y t h m i c m o t i v e s a c t as a thread in
wea v i n g the thema t i c m a t e r i a l together. Al l of the rhythmic
motives an d themes a r e c o n s t a n t l y s u b j e c t e d to changes
in orchestration, r e g i s t e r an d pitch m a k i n g their e v e r y
a p p ear a n c e s o und i n t e r e s t i n g a n d varied. Rhythmic
m a n i p u l a t i o n is always a p o s s i b i l i t y w i t h e v e r y idea: in
this movement, it was shown that the r h y t h m i c motives
oc c a s i o n a l l y were m a n i p u l a t e d to c o n f o r m to C r eston's
rhythm i c structures.
Harmonically, M o v e m e n t I is l o osely o r g a n i z e d w i t h
frequent c h ordal c h a n g e s in a l m o s t e v ery measure.
222
C r e s t o n shows his p r o p e n s i t y to m o v e in tertian
relationships, a l t h o u g h c h r o m a t i c m o v e m e n t s are also
utilized. Cadences a r e often a c h i e v e d by means of the
subdom i n a n t seventh o r a neapolitan. Cr e s t o n tends to
solidify h a r m o n i c s t r u c t u r e at the b e g i n n i n g of the formal
sections. Th e main t h eme entry in the r e c a p i t u l a t i o n in
the piano is a fourth higher t h a n the opening. Also, the
m ovem e n t ends with the m a i n t h eme back in the home key.
Creston, however, d e n i e s the e x p e c t e d final chord of the
piece.
The m o s t n o t i c e a b l e formal fe a t u r e of the first
moveme n t is the d i s p e n s i n g of th e development. Creston
has el e c t e d to do this because the a f o r e m e n t i o n e d variety
created by r h y t h m i c m o t i v e s and themes generate adequate
d evelo p m e n t a l feel in the d o m i n i o n of the exposition.
In one instance, a l arge t r a n s i t i o n a s s i s t s with needed
d evelo p m e n t w h ile also act i n g as a m e ans to introduce the
lyrical theme.
The same device a l s o occurs in the slow, mi d d l e
movement, to o b v i a t e an y a b r u p t n e s s w i t h the entry of the
contra s t i n g theme. In this movement, however, structural
divisions are m u c h m o r e discernible. T h e main theme is
always p r e c e d e d by at least one of q u i e t harmonic
backgr o u n d s (the "velvet" onto w h i c h the melody is placed).
Fea t u r e d in the piano, the main t h e m e is placed in a
t o n i c - n e a p o l i t a n - t o n i c ke y scheme in the respective
223
sections. The Lyd i a n mode, high l i g h t i n g the raised fou r th
(or eleventh), creates the piquancy in this theme Creston
so exacted from alm o s t all of his slow movements.
In relation to the o u t e r movements, this movement
is rhy t hmically simple, r e lying on the c o n t r a s t i n g theme
(in eighth notes) to p r o v i d e relief from t h e regular
quarter-note pulse. T h e harmonic language of this m o v e m e n t
is similar to the o u ter movements, but the e f f e c t is m u c h
differ e n t be c a u s e ideas ar e presented more leisurely and
the harmonic r h y t h m has b e e n d e creased considerably. The
intent of this m o v e m e n t is to create e v o c a t i v e colors a n d
subtle moods a i d e d by c l e a r orchestration.
Th e third movement, a tarantella in 6/8 meter, is
predicated on r h y t h m i c p r o p u l s i o n cr e a t e d b y two rhythmic
motives which p e r m e a t e the piece: 1 . eighth notes slurred
into groups of three and, 2. a q u a r t e r note followed by
an eighth. The e f f e c t c r e a t e d by these, a n d two other
transitional themes w h i c h subdivide the m e a s u r e into four
or three beats, is one of perpetual motion. This motion
generates a s e e m i n g l y e n dless number of harmonies, almost
all of which are m a j o r an d have e x t e n d e d t e r t i a n chord
members.
Rondo form is e m p l o y e d in this movement. Contra s t i ng
B and C sections create v a r i e t y by u s ing intere s t i n g
orchestral o s tinatos w h i c h involve uneven g r o u p i n g s of
beats (such as 4 + 3 + 2). C r eston places his lyrical
224
themes in the piano, o f t e n w r i t t e n in dense, brilliant
chords, supe r i m p o s e d o v e r these o r c h e s t r a l ostinatos.
In the second c o n t r a s t i n g section, the piano enters in
a 2/4 meter w h i l e the o r c h e s t r a p l a y s in 3/4. This cr e a tes
some fascinating r h y t h m i c juxtapositions. The conjunct
lyrical theme of the fi rst c o n t r a s t i n g section a c t u a l l y
merge s with RM-1 in a t r i u m p h a n t r e p r i s e at the end the
movement. The conce r t o c o ncludes in E Major, the r e l a t i v e
m a j o r of the o p e n i n g ke y of the f i r s t movement.
Tdtilu 2 . - -i»t rin'C urd o( Con c u r to tor t’idiio and o r t , Op, 4 i« itivl, I
P r i mary Keys Used T h e m a t i c and M o t i v i c U s age

Form
Exposition m . 1 - 2 2 O p e n i n g Tutti in c - s h a r p minor, Uses T h e m e A ( c o n s t r u c t e d of R M - 1 | HM-2,

A Major, and E Major, and RM-1 in o p e n i n g tutti. P l a n o ent r a n c e
m . 22 P l a n o Ent r a n c e in c - s h a r p minor. fo llows b e g i n n i n g wi t h RM-1. RM- 2 is als o
Theme A Section used.
C e l l o s and bas s e s b r i e f l y i n t r o d u c e T heme

m. 3 7 T h e m e B I n troduced in t - s h a r p minor.
B f o l l o w e d by p i a n o i n t r o d u c t i o n of same
m . 4 6 T h e m e B P l ano in A Major,
Transition (Introd u c i n g T h e m e B) theme. RM-2 e x t e n s l v e d l y us e d in transition.
m . 50-56 RM-2, T h e m e A and T h e m e B in 0 Major,
T h e m e A a n d T h e m e B are p i t t e d a g a i n s t one
m. 57 T h e m e A and RM-2 in c - s h a r p minor,
ano t h e r . Link u s i n g RM-3 c o n c l u d e s the
m. 76 and 84 RM-1 link in E Major. section.
m. 87 F irst T h e m e B S t a t e m e n t in A Major, T h e m e B is g i v e n four full s t a t e ments, the

m. 94, (01, 1(7 T h e m e B S t a t e m e n t s in A-Flat first t hree in the piano. R m - 4 is introduced
Theme B Section Major, 0 - F l a t Major, a n d F - S h a r p Major, there after, J u x t a p o s e d wit h T h e m e A. A
r e speclfully. d i s s o n a n t T h e m e B s t a t e m e n t c o n c l u d e s the
section.
T h e m e A r e t urns w i t h o u t the c o n s p i c u o u s
Recapitulation
m. 143 Tutti with RM-1 beg i n s in D Major, d e s c e n d i n g fifth. Numerous rhythmic motives
m. 163 P i a n o Entr a n c e of RM-1 b e g i n s in are e m p l o y e d until p i a n o e n t r a n c e w hich
f - s h a r p minor, fav o r s a longer RM-1 dis p l a y . Numerous
Theme A Section r h y t h m i c m o t i v e s and both the m e s are emp l o y e J
m. 174 RM - 2 in 0 Major.
af terward.
m. 199-202 T h e m e B and T h e m e A in A Major, T h e " r e - l n t r o d u c t l o n " of T h e m e B is brief.

m. 210 P l a n o solo of T h e m e B in E Major, All m a t e r i a l is n o w p r e s e n t e d In transitional
Transition (I n t r o d u c i n g T heme B) m. 214 P i a n o so l o of T h e m e B in C Major, fa s h i o n i n c l u d i n g RM-3 w hich s e r v e s as a
m. 252 RM - 3 link in A M a j o r link to the next section.
m. 261 First T h e m e B S t a t e m e n t in 0 M ajor

m. 270 and 277 T h e m e B S t a t e m e n t s in B M ajor
T h e m e B is p r e s e n t e d in full t hree times.
Theme B Section and D Major, respectfully.
A f t e r R M - 2 statement, RM-4 a g a i n is pit t e d
m. 287 RM-1 featured in B Major. a g a i n s t T h e m e A.
m. 294 RM - 2 f eatured in 0 Major.
m. 301 T h e m e A c o n c l u d e s on B Major.
Coda
m. 302 RM-1 in f - s harp minor, RM-1, w hich sh o w e d potential in the p iano
225
m. 311 T h e m e A in c - s h a r p minor, en t r a n c e of the recap, ent e r s in full force
m. 331-332. Final t hree h a rmonies: B Major, leading to T h e m e A in the o r c h e s t r a which
0 Major, a n d A Major. d r i v e s to the final cadence.
Tublu i . - S t r u c t u r e ot C o n c ur t a tor I1leno and ***' mvt. II
Form P r imary Keys Used T h e m a t i c and M o t i v e U s a g e
.n. 1-12 O p e n i n g tutti In n-flat M a j o r

m. 13 P i a n o e n t r a n c e in D-flat M a j o r T h e m e A is r e p e a t e d t hree times in full: onc e
m. 23 S e c o n d p iano e n t r a n c e In O - s h a r p Major in the o p e n i n g o r c h e s t r a l tutti a n d twice by
first Theme A S e c t i o n
m. 26 T h e m e B In G - s h a r p Major. the piano. T h e m e B is " p r e - i n t r o d u c e d " by the
m. 32 T h e m e A r e t urns in F - s h a r p Major. pi a n o in a b b r e v i a t e d f a shion b e t w e e n statements.
m. 37 T h e m e B In O - s h a r p Major,
m. 42 T h e m e B In F Major,
T h e m e B is now p r e s e n t e d in full, first by the
m. 48-53 Tr a n s i t i o n .
w o o d w i n d s and, b e g i n n i n g in m e a s u r e 58, by the
F irst T h e m e B S e c t i o n m. 54-56 T h e m e s A a n d B are juxtaposed,
p i a n o in a v e r i t a b l e solo. T h e t r a n s i t i o n uses
m. 58-68. T h e m e B is p r e s e n t e d In the following
t r i p l e t s r e s e m b l i n g those of the first movement.
m a jor keys: A, B-flat, D-flat, a n d 0.
m. 70-79 T r a n s i t i o n .
m. 80 T utti In D Major, the n e a p o l i t a n of the T h e m e A is e x c l u s i v e l y f e a t u r e d in this, the

home key.
m i d d l e s e c t i o n of tha movement. T h e piano, via
m. 88 P i a n o e n t r a n c e in 0 Major,
Second Theme A Section a r p e g g i a t i o n , st a t e s the t heme in a mu c h mo r e
m. 95-106 T r a n s i t i o n ,
e l a b o r a t e m a n n e r than before. T h e tr a n s i t i o n s
m. 107 P i a n o e n t r a n c e in D Major,
a g a i n f e a ture the q u a r t e r - n o t e triplets.
m. 113-124 Tr a n s i t i o n .
m. 125 P l a n o beg i n s on F - s h a r p Major, T h e m e B r e t u r n s in full force w i t h no less than

m. 127-153. S u b s e q u e n t T h e m e B s t a t e m e n t s are ni n e e ntries. A c c o m p a n i e d by on l y p i z z a c a t o
Second Theme B Section in the f o l l o w i n g m a j o r keys: 1), D-flal, E-flat, strings, the t e x ture is b a s i c a l l y that of a plann
F-flat, G-flat, a n d A. solo. T h e final st a t e m e n t of T h e m e B is p l a y e d
m. 157-162 transition. by the b rass In thick, rich chords.
m. 163 P i a n o begins o n D-flat Major, the home

key of the movement. T h eme A r e turns In the piano, thlB time In a
t h r e e - l a y e r texture. T h e m e B m a k e s two brief
226
Third Theme A Section m. 173 P i a n o begins o n F - s h a r p Major.
appe a r a n c e s , the s e c o n d time I m p o s e d upon T h e m e
m. 176 P l a n o begins w i t h T h e m e B in & Major.
A in m e a s u r e 188.
m. 184 P l a n o returns w i t h T h e m e A in D-f l a t Major.
Tdblu 4. - -St e n d u r e ot Cuncurto lur dno und_j>£cbu;*f Op. 43, mvt. Ill
Form Primary Kuya (Jsud Thematic and Mo l l v i c Usage
Ve r y few tonal a reas in o p e n i n g s e c t i o n (music M o v e m e n t o p e n s w i t h RM-1 p r e v a iling. Wh e n joined

hig h l y pantonal). with RM-2, T h e m e A, la c o n s t r u c t e d . A
m. 24 S t r o n g 0 M a j o r chord. t r a n s i t i o n a l theme, TT-1, c h a r a c t e r i z e d by the
First T h e m e A S e c t i o n s u b d i v i s i o n on the 6/8 bar into four equal b eats
m. 30-37 C - s h a r p M a ) o r c o u p l e d w i t h the most
co m p l e t e p r e s e n t a t i o n of T h e m e A in the piano, is f o l l o w e d by TT-2, w h i c h s u b d i v i d e s into six
m. 86 T T - 2 e m p h a s i z i n g 0 Major, equal beats. T h e former uses a 3.3.2 a c c e n t i n g
m. 102 C a d e n c e on 0 Major. pattern, the latter u t i l i z e s a n e i g h b o r tone.
m. 109-•36 Ost:Lnato c r e a t e s F - s h a r p M a jor

m. 137--144 in C Major. The n e i g h b o r tone idea of TT - 2 plus the
m. 1 45--160 ln A Major.
s u b d i v i s i o n s of TT-1 is c o m b i n e d to c r e a t e an
T h e m e B Sec t i o n m. 161-•168 in F Major.
orch e s t r a l o s t i n a t o figure in the p a t t e r n of
ra. 169 S t r o n g c a d e n c e on E Major.
3.3.3.3*2*2. T h e p i a n o st a t e s T h e m e B ma n y times,
m. 180 A Major.
to w h i c h RM-1 and RM-2 join.
m. 191-•214 in C - s h a r p M ajor
ra. 242 A M a j o r p r e c e d e s T h e m e A e n t r a n c e in the RM-1 resumes in a large tutti, to w h i c h RM-2

piano.
m. 270 C - s h a r p M a j o r w i t h TT-1. a°r2nj
r ?ini,,f Union* ln tha p U n o ' p r e s e n t s
Second Theme A Section a r e p r i s e of T h e m e A. TT-1 and TT - 2 are also
m. 299 d m i n o r a t e m p o r a r y o s t i n a t o wi t h RM-4.
e m p l o y e d a n d the s e c t i o n c o n c l u d e s w i t h chordal
m. 327-329 in B Major.
m. 335-341. A B - f l a t pedal point. r j tiT e m e n ta played ln the p U n o ln triumphant
m. 343-375 a D h a r m o n y with a split t hird opens

the ostinato. A t h r e e - m e a s u r e o s t i n a t o sets up in the o r c h estra
m. 376-384 in D-f l a t Major, ln 3/4 meter, u sing a 4*3*2 a c c e n t e d pattern.
m. 3 8 7 -390 in F-flat Major, T h e p i a n o sta t e s T h e m e C many times in a 2/4
m. 391-396 in E-flat Major, m eter p r o v i d i n g for intere s t i n g r h y t h m i c
T h e m e c Se c t i o n
m. 397-411 in D Major, Juxtapositions. The o r c h e s t r a a d o p t s the 2/4
m. 4 1 2 -417 in E-flat Major, m eter w h i c h all o w s for the s e c tion to end with
m. 418-431 in B Major, n ume r o u s RM-1 statements.
m. 4 3 2-437 in D M a j o r (RM-1).
m. 438 E Major,
ra. 454 A Major.
m, 4 6 7 -474 F pedal p o int wi t h TT-1 and RM-1. T he 6/8 m e t e r is r e s u m e d wi t h RM-1 p r e d o minating.
m. 481 S t r o n g c a d e n c e on A Major, TT-1 so o n enters, and in a long s t a t e m e n t is
Third Theme A Section m. 485 S t r o n g c a d e n c e on D Major, joined by RM-1. T h e latter soon e n g u l f s the
227
m. 500-502. E - s h a r p pedal p r e c e d i n g final T heme piece, e v e n t u a l l y o u t l i n i n g T heme B in the
11 statement. c o n c l u s i o n of the m o v e m e n t in b r i l l i a n t chords
m. 5 0 3 - e n d in E Major, save from a F-natural in the piano.
pedal p oint in m. 523-539.
CHAPTER 5
S U M M A R Y AND S U G G E S T I O N S FO R A D D I T I O N A L R E S E A R C H
A q u o t a t i o n by the G r e e k p h i l o s o p h e r and ma t h e m a t i c ian,
P h y t h a g o r a s was a m o n g Paul C r e s t o n ' s favorite: "Do not
go b e y o n d the balance" was t h e p a r a g o n C reston e n d e a v o r e d
to a p p l y in all of his works, i n c l u d i n g the Fantasy and
the C o n c e r t o for P i a n o and O r c h e s t r a . Cr e s t o n c o n s t r u e d
this q u o t a t i o n to m e a n that a r t s h o u l d be e v o l u t i o n a r y
and not r e v o l u t i o n a r y and that n e w c r e a t i o n s should be
p r o d u c e d w i t h a r e v e r e n c e for the past. His compositions
s how a d e c i s i v e conse r v a t i v e tilt: a preference for a
ne o - R o m a n t i c harmo n i c idiom w i t h a c c e s s i b l e melodic w r i t i n g
throu g h traditional forms and o r c h e s t r a t i o n . Even in key
c l i m a c t i c moments, w h e r e C r e s t o n j u d i c i o u s l y approaches
e xtrem e s in areas of harmony, r e g i s t e r and dynamics, the
c o m p r e h e n s i b l e q u a l i t y of his m u s i c is n e v e r in question.
Th e e m brace of tonality (and m o r e specifically,
pantonality) was somew h a t o l d - f a s h i o n e d by the time the
c o n c e r t o was w r i t t e n in 1949, the approximate beginning
of the a v a n t - g a r d e m o v e m e n t in music. Cr e s t o n o p i n e d on
the a v a n t - g a r d e in a lecture:
228
229
It is time to relegate the s c i e n t i f i c factor to its

p r o p e r m i n o r role and e l e v a t e o n c e more the artistic
fa ctor to its merited p r e - e m i n e n c e . It is time to
e v i c t m u s i c from the laboratory, t ake it out of the
hands of the mathematicians a n d cryptologists, and
b r i n g it b a c k to the home and t h e concert hall. It
is time to radicate the a t t i t u d e that music should
shock, confo u n d or degenerate, a n d produce, instead,
m u s i c to be enjoyed, m u s i c to soothe, to gladden,
to stimul a t e , _ t o e x h i l a r a t e or l i f t the spir i t of
the listener.
M o d e r n t e c h n i q u e s such as s e r i a l i s m a n d aleatoric
c o m p o s i t i o n w e r e very much in v o g u e in the p o s t-war era.
In L e o n a r d B e r n s t e i n , M e r y l e S e c r e s t e x p l a i n s that these
"mode r n i s t s " sought "originality, e x p e r i m e n t a t i o n and style.
B e s i d e s style, everything d e p e n d e d u p o n how unique and
d a r i n g the w o r k was; and if it a r o u s e d outrage, so much
the b e t t e r . " ^ In this light, n o t h i n g C r e s t o n w r o t e ever
p r o d u c e d "outrage." Yet it was p r e c i s e l y that w h i c h was
met o c c a s i o n a l l y with "outrage" by s o m e critics, a n d in
a few instances, charges of a p o s t a s y w e r e leveled against
the composer. Creston r e s p o n d e d to o n e such c h arge of
a N e w Y o r k C i t y reviewer in 1961:
T h e a c c u s a t i o n of a p o s t a s y is, to the true creative

artist, the most u n k i n d e s t cut o f all . . . In one
sense I do strive to please my patrons, not by altering
in the slightest my p h i l o s o p h y o f art but by d e l i vering
a s i g n i f i c a n t piece of music t h e r e b y j u s t i f y i n g their
faith in me as man and artist.
T he c o n c e r t o (and the F a n t a s y to a l e s s e r degree) ultimately
m ay be v i e w e d as being c o m p o s e d in t h e "wrong" era. This
c e r t a i n l y d i d not contribute to p o s i t i v e reviews a n d repeat
perfor m a n c e s . In our present decade, however, w i t h concert
230
halls more d i s p o s e d to a c o n s e r v a t i v e twe n t i e t h - c e n t u r y
style, e n o u g h interest has b e e n ar o u s e d in Creston's music
to su ggest that in the future, the works for piano and
o r c h e s t r a m a y enjoy a p e r f o r m a n c e windfall.
C r e s t o n ' s monograph, " C r e a t i v e Harmony," can be viewed
as a treatise of his c o m p o s i t i o n a l style. A major part
of the book is devoted to r h y t h m a n d tertian harmony, the
latter of w h i c h Creston r e g a r d e d as "fundamental in the
m usic of W e s t e r n c i v i lization f r o m the 16th to the 20th
centu r i e s . " ^ T h e properties of cho r d s such as the augmented
e l e v e n t h and the subdominant s e v e n t h (both which are used
with high fre q u e n c y in the F a n t a s y and the concerto) are
d i s c u s s e d a l o n g with ninth and thirteenth harmonies.
M e l o d i c c o n s t r u c t i o n and chord progression, in a pantonal
setting, are a l s o given due consideration. "Creative
Harmony" s t r o n g l y enforces the n o t i o n that Creston's musical
language was b a s e d on past tradition.
A b s o l u t e music was C r e s t o n ' s p referred domain. That
music could d e s c r i b e specific p i c t o r a l scenes, such as
in a Strauss t o n e poem, was v i e w e d with some skepticism
by Creston: "Whereas verbal l a n g u a g e can e x press ideas,
d esc r i b e visual phenomena, etc.,

musical language can
g
express and e n g e n d e r only e m o t i o n s . " The title "Fantasy"
and the use of a tarantella in the third m o v e m e n t of the
concer t o does not undermine this notion, as C r eston
explained:
231
The o n l y o u t s i d e sources of s t i m u l a t i o n are the d a n c e

and poetry. E v e n in these, however, the musical
impetus comes first, and the d a n c e feeling_or p o e t r y
with w h i c h I s h all w o r k is a later choice.
C r e s t o n was a s e l f - t a u g h t composer, who gained a
majori t y of his k n o w l e d g e from s t u d y i n g scores and p e r u s i n g
R i m s k y - K o r s a k o f f 's b o o k o n o r c hestration. He often said,
"Most true c o m p o s e r s ar e s u c c e s s f u l not b e c a u s e of t h e i r

g
training but in s p ite of it." In retrospect, this a p p e a r s
only partly true. C r e s t o n ' s style, imbued w i t h unique
rhythmic d e vices and p a n t o n a l harmony, bears a disti n c t
sound. However, to d e n y what his m o t i v i c unity, formal
balance, and o r c h e s t r a t i o n owe to m u s i c a l tradition w o u l d
be a misrepr e s e n t a t i o n .
The i m p o rtance of r h y t h m in C r e s t o n ' s music c a n n o t
be overstated. He c o n c e i v e d music rhythmically, only
later apply i n g h a r m o n y a n d melody. T h r o u g h o u t all of his
music, a t t e n t i o n to r h y t h m is much in evidence. His
identif i c a t i o n and e m p l o y m e n t of five rhyth m i c structures
is one of the most r e c o g n i z a b l e featu r e s of his music.
These rhythmic s t r u c t u r e s are f r e q u e n t l y emplo y e d
(occasionally simult a n eo u s l y ) in the Fa n t a s y and the
concerto.
Creston r e a l i z e d that the c o u n t l e s s n u m b e r of c h o r d s
(and colors) c r e a t e d b y p a n t o n a l i t y d i c t a t e d that the n u mb e r
of melodic themes be limited. It has been shown in the
Fantas y that the e n t i r e piece was g e n e r a t e d from one theme;
232
in the concerto, o n l y a few themes are u s e d in each
mo vem e n t . Th e F a n t a s y can trace its roots to thematic
t r a n s f o r m a t i o n a s s o c i a t e d with L i s z t and e v e n the
m o n o t h e m a t i c i s m of Haydn. A l i m i t e d n u m b e r of r e c u r r i n g
rhythmic motives also p e r m e a t e d both pieces: in the F a n t a s y ,
t h e y h e l p e d to e s t a b l i s h the c h a r a c t e r of each se c t i o n
(such as the d o t t e d r h y t h m in the march). In the concerto,
r h y t h m i c m o t i v e s o f t e n f u n c t i o n e d to d e l i n e a t e the
structure.
The fast- s l o w - f a s t , three-m o v e m e n t d e s i g n of the
concerto is v e r y m u c h in the g r a n d tradition. The first
m o v e m e n t a d o p t e d the s o n a t a - a l l e g r o c o ncept of two
c o n t r a s t i n g themes. T h e second movem e n t u t i l i z e d five - part
s o n g form an d the finale was a b a s i c rondo form. Within
these t r a d i t i o n a l forms, however, C r eston a d j u s t e d the
ma t e r i a l to meet his needs. In the concerto, he f r e q u e n t l y
i n t r o d u c e d ne w themes in a transitional s e c t i o n w h i c h served
to e n g e n d e r f a m i l i a r i t y once the theme was st a t e d in its
entirety.
Th e F a n t a s y is m u c h more c o m p a c t than the concerto.
T h e b r e v i t y an d t e c h n i c a l acc e s s i b i l i t y of the piece was
central to the n u m e r o us p e r f o r m a n c e s of the work in the
1940s. Today, it is the only C r e s t o n work for p i ano (or
two pianos) a n d o r c h e s t r a still in print. The concerto
has b e e n p e r f o r m e d o n l y three times and has been r e l e g a t e d
to obs c u r i t y . This has b e e n due in part to a " c r o w d i n g
233
out" of new w o r k s by the e s t a b l i s h e d piano concerto
literature a n d by n e g a t i v e New Yor k reviews. The skill
wi t h which the c o n certo is constructed, however, has b e e n
shown to be k e e n and inventive. It is hoped this p a p e r
will inspire future performances.
C r e s t o n a l s o w r o t e the C o n c e r t o for Two Pianos a n d
O r c h e s t r a , Op. 50, in 1951. It has the distinction of
be i n g the o n l y Cre s t o n w o r k for p i a n o and orchestra to
have been c o m m e r c i a l l y r e c o r d e d (see Appendix B). The
work was o r i g i n a l l y c o m m i s s i o n e d by the renowned piano
duo t e a m of P i e r r e L u b o s h u l t z and G e n i a Nemenoff, but was
not p r e m i e r e d until 1968, by the p i a n o duo team of J o a n
Y a r b r o u g h and R o b e r t C o w a n with the N e w Orleans
Philharmonic, W e r n e r T o r k a n o w s k y conductor. This concerto,
de e m e d "one of the o u t s t a n d i n g works for the m e d i u m in
this century," by Y a r b r o u g h and Cowan, has yet to be

9
analy t i c a l l y researched.
Creston's symphonies, e s p e c i a l l y the second and third,
are a m o n g his finest compositions. Recently, Neemi JA r v i
and the Det r o i t S y m phony r e c o r d e d S y m p h o n y No. 2 on the
Chando s label (see A p p e n d i x B). M a s t e r f u l orchestration,
rhythm i c buoyancy, and m e l o d i c inventiveness are in
a b u n d a n c e in this work. All of the symphonies are ripe
for fresh research, i n c o r p o r a t i n g the numerous
c o r r e s p o n d e n c e in the C r e s t o n C o l l e c t i o n at the U n i v e r i s t y
of M i s s o u r i - K a n s a s City.
234
C r e s t o n r e p r esents a s i g n i f i c a n t figure in A m e r i c a n
music of the twen t i e t h century. In 1942-3, his fame was
secured w h e n Arturo T o s c a n i n i c onducted his music. In
1943, he received the prestigous New Y o r k Critics Circle
Award. A t this time, Cr e s t o n flourished in what Secrest
called the "small a n d intertwined" artis t i c world of the
New York of the e a r l y 1940s w h ere "to be championed by
one or two i nfluential m embers was to m e e t everyone who
counted."^ In the 1950s a n d early 1960s, he still remained
one of the most fre q u e n t l y p e r f o r m e d A m e r i c a n composers,
despite the rise of the avant-garde. However, the trend
at that time found C r e s t o n g r a d u a l l y pus h e d by the
modernists into s m a l l e r c o ncert halls. Despite this,
Creston remained undaunted. In 1981, well into his
seventies, he was featu r e d in a PBS special with a newly-
composed piano trio.
At present, w i t h conductors, historians and
theoreticians a c t i v e l y r e - e x a m i n i n g America's musical
heritage, it appears to be an auspicious time for C r eston
to regain his place in the A m e r i c a n m u sical experience.
The Fantasy and the piano c o n c e r t o are works which the
pianist c o u l d pe r f o r m in o r d e r to s pearhead this cause.
APPENDIX A
T H E FIVE R H Y T H M I C S T R U CTURES
APPENDIX A
T H E FIVE R H Y T H M I C S T R U CTURES
C r e s t o n wrote in 1954, "Rhythms are the c o m p e l l i n g
force [in my music]. In fact, like m o s t of my compositions,
the rh y t h m is c o n c e i v e d an d c a l c u l a t e d — the h a r m o n y and
m e l o d y are created to c o n f o r m with an d intensify the
rhythm i c structure."^ L i v e l y and o f t e n inventive rhythms
permea t e all of his works.
The c o d i f i c a t i o n of five rhythmic structures was
C r e s t o n ’s most n o t a b l e a c a d e m i c achievement. These
structures are prev a l e n t in t wentieth c e ntury m u s i c but
can be observed in other p e r i o d s as well. If this rhythmic
s t ruct u r e t e r m i n o l o g y were a d o p t e d by the music community,
m a n y rhythmic patte r n s in m u s i c could be readily a n d simply
identified.
Music C o n f o r m i n g to the M e t e r
A majority of m u s i c r h y t h m i c a l l y conforms to the meter
such as the following:
236
237
Creston's r h y t h m i c s t r u c t u r e s are c o n c e r n e d with rhythms
w hich do no t c o n f o r m to the meter.
T he F i r s t R h y t h m i c Str u c t u r e
The F i r s t R h y t h m i c S t r u c t u r e presents, within a
measure, a n equal s u b d i v i s i o n of beats that do not conform
to the meter. A co m m o n form of this structure is often
referred to as "hemi o l a w i t h i n the b a r l i n e . ”
J- p i * J ' p '•
A more c o m p l e x e x a m p l e is found in the following
unconventional p l a c e m e n t of accents.
The S e c o n d R h y t h m i c Stru c t u r e
The S e c o n d R h y t h m i c S t r u c t u r e is the unequal
subdivision of the beat w i t h i n the measure. The rhythm
of a rumba is a c o m m o n type:
238
A more complex example w o u l d be the following:
The T h i r d R h y t h m i c S t r u c t u r e
The Third Rhythmic S t r u c t u r e (also termed " o v erlapping"
by Creston) involves an u n e v e n g r o uping of beats o r an
u neven group i n g of the s u b d i v i s i o n of the beat in m o r e
than one measure. T h e s e g r o u p i n g s are n o n - r e p e a t i n g .
In this instance, m any t w e n t i e t h c entury c omposers change
the meter but Creston and o t h e r s do not. An e x a m p l e of
the Th i r d Rhythmic S t r u c t u r e is shown below:
I i
! ' i 1 !
\ m i
F3k $ :- - - - - - - - - J --------- * -- - - - - - - - =1 * — i -:■ *= - J — ^ M M
4 m m - ~ i - - - - - - - - - - - - “ ■ - - - - - - - - - H - - - - - - - - - - - - 1- - - - - - - - - - - - - 1
- - - - - - - - - - - - — —
_
U j - - - - - - - - - - - - m - - - - - - - - - - ^
u - - - - - - - - - - - - - - — m —
- - - - - - - - - m -- - - - - - - - ,
- - - - - - - - - - - - - - - - - •
The F o urth R h y t h m i c S t r u c t u r e
The Fourth Rhythmic S t r u c t u r e is s i m i l a r to the First
R h y t h m i c Structure except t hat the equal d i v i s o n (or
subdivision) lasts for more t h a n one measure.
239
A more c o m p l i c a t e d a p p l i c a t i o n o f this structure m i g h t
be:
The F i f t h R h y t h m i c S t r u c t u r e
The F i f t h R h y t h m i c S t r u c t u r e is s i m i l a r to the S e c o n d
Rhythmic S t r u c t u r e e x c e p t that the u n e q u a l division (or
subdivision) of the b e a t lasts for m o r e than one measu r e .
This stru c t u r e is d i s t i n c t from the the T h i r d R h y t h m i c
Structure in that the p a t t e r n u s u a l l y repeats, as in an
ostinato.
A P P ENDIX B
SELECTED DISCOGRAPHY
APPENDIX B
SELECTED DISCOGRAPHY
The f o l l o w i n g s e l e c t e d d i s c o g r a p h y lists r e c o rdings
a c c o r d i n g to their c h r o n o l o g i c a l release, t h e most current
b e i n g listed first. G e n e r a l l y speaking, m o s t rece n t titles
c an be found in print at the time of this writing. All
recordings are compact disc, e x c e p t for the th i r t e e n t h
listing.
1. 1997: S o n a t a for A l t o S a x o p h o n e and P i a n o , Op. 19

(with Dahl, Ibert). H a r v e r y Pittel, alto sax, Jeff Helmer,
piano. Crystal Records CD 655.
2. 1995: P r e l u d e and D a n c e for A c c o r d i o n , Op. 69 (with

o t h e r acco r d i o n c hamber music). R o b e r Davine, a c c o r d i o n
w i t h the Lamont Cha m b e r Players. Crystal Records.
3. 1995: S y m p h o n y No. 2 , Op. 35 (with Ives). The D etroit

S y m p h o n y Orchestra, Neemi Jarvi, conductor. Chandos CHAN
9390.
4. 1994: Suite for V i o l a and P i a n o , Op. 13 (with Rochberg,

Carter). L a w r e n c e Wheeler, viola, R uth Tomfohrde, piano.
A l b a n y TROY 141.
5. 1994: C o n c e r t o for T w o Pianos a n d O r c h e s t r a , Op. 50

(with Poulenc a n d Berezowsky). J o s h u a P i erce and D o r o t h y
Jonas, pianists. The N a t i o n a l S y m p h o n y O r c h e s t r a of Poli sh
R a d i o and Television, D a v i d Amos, conductor. A l b a n y TROY
112.
6. 1992: S y m p h o n y No. 5 , Op. 64, T o c c a t a , Op. 68 and

C h o r e o g r a f i c S u i t e , Op. 86A. The Seattle S y m p h o n y (for
first two works) and the N e w York C h a m b e r S y m p h o n y (for
the third), G e r a r d Schwartz, conductor. De l o s DE 3127.
241
242
7. 1991: Symphony No. 3 , Op. 48, P artita for Flute, V i o l i n

and S t r i n g s , Op. 12, Out of t h e C r a d l e , Op. 5, I n v o c a t i o n
and D a n c e , Op. 58. The S e a t t l e Symphony, G e r a r d Schwarz,
conductor. Delos DE3114.
8. 1991: Partita for Flute, V i o l i n and S t r i n g O r c h e s t r a ,

Op. 12 (with Dello Joio a n d C o w e l l ) . C i t y of London
Sinfonia, David Amos, c o n d u c t o r . H a r m o n i a Mundi HMD 906011.
9. 1991: Symphony No. 2 , Op. 35, Walt W h i t m a n , Op. 53,

and Corinthians: X I I I , Op. 82. Krakow Philharmonic
Orchestra, David Amos, c o n d u c t o r . K o c h I n t e r n ational
Class i c s 3 - 7 0 3 6 - 2 H 1 .
10. 1989: Dance O v e r t u r e , Op. 62, an d Two Cho r i c D a n c e s ,

Op. 17B (with Copland, P i s t o n a n d Barber). Ne w York
Philharmonic, G u i d o Cantelli, conductor. I t alian import
AS 515.
11. 1987: A R u m o r , Op. 27 ( w i t h Ives, B a r b e r and Cowell).

A c a d e m y of St. M a r t i n - i n - t h e - F i e l d s , N e v i l l e Marriner,
conductor. Argo 417 818-2.
12. 1986: Chant of 1 9 4 2 , Op. 33, Suite for String

O r c h e s t r a , Op. 109 (with D e l l o J o i o and Hovhaness). Is rael
Philh a r m o n i c Orchestra, D a v i d Amos, conductor. Crystal
Recor d s CD 508.
13. 1954: Symphony No. 2 , Op. 35, an d S y m p h o n y No. 3 ,

Op. 48. National S y m p h o n y O r c h e s t r a , H o w a r d Mitchell,
conductor. W estminster (LP record) W9708.
APPENDIX C
PAUL CRESTON'S CREED
APPENDIX C
PAUL CRESTON'S CREED
The foll o w i n g is taken from an u n p u b l i s h e d s h e e t
Creston p r o d u c e d in his lifetime (spellings have b e e n
changed from " m o d i f i e d revised spelling" b a c k to s t a n d a r d
s p e l l i n g ) .1
I c o n s i d e r music, and more s p e c i f i c a l l y the w r i t i n g

of it, as a spir i t u a l practice. This m a y be at c o m p l e t e
variance w i t h the speculations of art theorists, bu t
inasmuch as it p e r t a i n s to my wa y of life, I have f o u n d
it the m o s t s a t i s f a c t o r y j u s t i f ication for m y p u rsuit of
art. To me, mu s i c a l c o m p o s i t i o n is as v i t a l to my spiritual
welfare as prayer an d good deeds, just as g o o d food a n d
exercise are n e c e s s i t i e s of physical health, and t h o u g h t
and study are r e q u i s i t e s of mental w e l l - b e i n g . I believe
that everyone s h o u l d compose and that m u s i c a l c o m p o s i t i o n
should be a r e q u i r e d course in ou r e d u c a t i o n a l s y s t e m as
well as l i t e r a r y composition; not for the purpose of
training com p o s e r s p r o f e s s i o n a l l y — as we d o not e x p e c t
to make a u thors of all students of l i t e r a r y c o m p o s i t i o n — but
for the d e v e l o p m e n t an d joy of creativity.
I also c o n s i d e r m u s i c as a language: a language w h ich
begins w h ere words end; a language much m o r e precise, more
effective an d m o r e ind i s p e n s a b l e than an y verbal t o n g u e
of man. B e i n g a language, it c o n s e q u e n t l y has m a n y uses,
all equally indigenous. All I ask of a n y c o m p o s i t i o n is
that it fulfill its particular purpose fo r it to be
considered good music, whether it be a c r a d l e song, a
military m a r c h or a symphony. I cannot a g r e e with
ultra-purists or snobs who regard only suites, sonatas
and symphonies as g o o d music and any o t h e r type as a n
indignity.
Con c e r n i n g the m o r e specific aspects of composition,
I believe all the e l e m e n t s of mu s i c - - r h y t h m , melody,
counterpoint, harmony, form, and t o n e - c o l o r — should be
244
245
given due c o n s i d e r a t i o n to a t t a i n the perfect b a l a n c e of

a good musical comp o s i t i o n . This does not mean that one
element may not be p r e d o m i n a n t in a particular work. It
mere l y means that NO e l e m e n t is completely ignored. The
element that is c o n s i s t e n t l y d i sregarded is that of RHYTHM.
A student of c o m p o s i t i o n is taught harmony, c o u n t e r p o i n t
and form. Some t i m e s m e n t i o n is made of melody. B u t in
the matter of rhythm, one is left to s h ift for oneself.
My philosophic a p p r o a c h to composition is abstract.
I am preoccupied w i t h m a t t e r s of melodic design, h a r m o n i c
coloring, rhythmic pulse, a n d formal progression; not with
imitations of nature, or narrations of fairy tales, or
propoundings of s o c i o l o g i c a l ideologies. Not t h a t the
source of i n s p i r a t i o n m a y not be a p i c t u r e or a story;
only that— r e g a r d l e s s of the origin of the subject
regardless of the school of thought— a musical c o m p o s i t i o n
must bare judgment on p u r e l y musical criteria. Th e
intrinsic worth of a c o m p o s i t i o n depends on the i n t e g r a t i o n
of musical elements t o w a r d a unified whole.
In the use of the m a t e r i a l s of compos i t i o n I strive
to incorporate all that is g o o d from the earliest times
to the present. If m o d a l i t y serves the purposes of
expression, I u t i l i z e it; if atonality is called for, I
utilize it with an e q u a l l y clear conscience. I m a k e no
special effort to be Amer i c a n ; I conscientiously str i v e
to be my true self; w h i c h is Italian by parentage, A m e r i c a n
by birth, and c o s m o p o l i t a n by choice.
APPENDIX D
LETTERS OF PERMISSION
APPENDIX D
LETTERS OF PERMISSION
27 32 N o r t h M on tezu m a A venue
T u c s o n AZ 8 5 7 1 2 - 1 8 2 6
S ep tem b er 25, 1995

D e a r M r. H ig d o n ,
I am g l a d t o h e a r t h a t y o u h a v e s u c h a s t r o n g i n t e r e s t i n
my f a t h e r 's m u sic . As you h ave d i s c o v e r e d , h i s p ia n o m u s ic i s
t r u l y e x c e p t i o n a l a n d d e s e r v e s m ore r e c o g n i t i o n .
Y o u h a v e my p e r m i s s i o n t o m a k e c o p i e s o f m u s i c s c o r e s , s o u n d
r e c o r d in g s and any o t h e r d o cu m en ts in th e P a u l C resto n c o l l e c t i o n
a t t h e CIMKC M u s i c L i b r a r y . T h i s p e r m i s s i o n i s g r a n t e d p r o v i d e d
th a t th e m a te r ia l you copy i s fo r y o u rp erso n a l u se.
I f I can be o f any f u r t h e r a s s is t a n c e , p le a s e f e e l fr e e
to c o n t a c t m e. My p h o n e n u m b e r i s (5 2 0 ) 7 9 5 -0 4 9 8 ,o r you can
w r i t e t o me a t t h e a b o v e a d d r e s s .
S in c e r e ly ,
T L m o t ty f C r e s t o n
247
248
G. SCHIRMER, INC.
February 24,1997
i? AsvkiuuJ. .M usic P ublishers. Ine.
• \ : > u - n . -r M u m c > .n « r * C o r r
Paul Higdon
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Re: F A N T A S Y F O R P I A N O A N D O R C H E S T R A , OP. 32 by Paul Creston
Dear Mr. Higdon:
This letter is to confirm our agreement for the nonexclusive right to reprint musical
excerpts from the above-referenced composition(s) for inclusion in your
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International Copyright Secured. A ll Rights Reserved.
Reprinted by Permission.
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as the m icrofilm collection of the university you attend, or with University
Microfilms, Inc.
3. Permission is granted to University Microfilms, Inc. to make single copies of your

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4. A one-time permission fee of twenty-five (525.00) dollars, to be paid by you within

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Sincer
Zoraya'Mendez
Print Licensing Manager
NOTES
INTRODUCTION
1. W a l t e r Simmons, "Paul Cre s t o n , " O v a t i o n 2 (October

1981): 31.
2. K a t h l y n Russell, "Stirring Up M u sic," North C o u n try

M a g a z i n e , 13 J a n u a r y 1980, 26.
3. Simmons, 29.
4. Paul Creston, E l lensburg, Washington, to W a l t e r

Simmons, New York, 11 A u g u s t 1970. C r e s t o n Collection,
Box 54, M i l l e r Nichols L i b r a r y Sp e c i a l Collections,
Univer s i t y of M i s s o u r i - K a n s a s City. (The C o l l e c t i o n was
reorga n i z e d in 1996-97 a n d the b o x numbers reflect the
new catalog s y s t e m . )
5. H e nry Cowell, "Paul Creston," M u s i c a l Quar t e r l y

34 (October 1948): 534.
6. Paul Creston, "Cr e a t i v e Harmo n y " (Creston

Collection, B o x 35, m a n u script), 31.
7. Paul Creston, " C o n t e m p o r a r y Music in Today's

Schools" 10 O c t o b e r 1969 (Creston Collection, Box 33,
s p e e c h ) , 6.
8. Creston, " C r e a t i v e Harmony," 227.
9. Paul Creston, " W h i t h e r C o n t e m p o r a r y Music?" (Creston

Collection, B o x 33, speech), 2.
10. Creston, " C r e a t i v e Harmony," 128.
11. Paul Creston, "Paul Cres t o n ' s Creed" (Creston

Collection, B o x 36, p h o t o c o p y ) .
12. Pat Barr, V i d e o t a p e d interview, in A n I nterview

w i t h Mrs. Paul C r e s t o n (UMKC Film, 1987) C r e s t o n Collection.
13. Cowell, 537.
249
250
14. Cowell, 539.
15. Vi r g i l Thoms o n , "Music," N e w York H e r a l d T r i b u n e ,

2 Nov e m b e r 1942, 10.
16. Virgil T h o m s o n , "Music," N e w Y o r k H e r a l d T r i b u n e ,

27 Fe b r u a r y 1947, 19.
17. M o n i c a Slomski, T a ped i n t e r v i e w with Paul Creston,

1982. C r e s t o n Collec t i o n , T a p e 134.
18. H a r o l d S c h onberg, "A F a s c i n a t i n g D o c u m e n t of

Musical Futility," N e w York Times, 31 J u l y 1977, sec. 2,
p. 13.
19. W a l t e r Simmons, "What is T o d a y ' s Music" (Creston

Collection, Box 77, p h o t o c o p y of essay).
20. "Gerard S c h w a r t z T a lks about A m e r i c a n M u s i c , "

prog r a m notes to CD S y m p h o n y No. 3 by Paul Creston, Delos
compa c t d i s k DE3114, 1992. For a c o m p l e t e d i s c o g r a p h y refer
to A p p e n d i x B.
CHAPT E R 1
1. Paul C r e s t o n u s e d the name "Joseph G u t t o v e g g i o "

until his teens w h e n he a d o p t e d "Paul Crest o n " from a high
school play in w h i c h he participated. He o f f i c i a l l y changed
his name in the late 1920s. C r e s t o n stated: "The a d o p t ion
of the n a m e Paul C r e s t o n was by no means a n e g a t i o n of
Italian origin. It was s p e c i f i c a l l y the remedy a n d cure
of a p a t h ological h a r a s s m e n t c a u s e d by the distorted,
m u t i l a t e d and d i s c o r d a n t p r o n u n c i a t i o n of an u n u s u a l — but
m u s i c a l — I t a l i a n n a m e . " See Paul C r e s t o n (Creston
Collection, Bo x 61, a u t o b i o g r a p h i c a l notes).
2. Paul Creston, S a n Diego, to D a v i d Ewen, M i a m i Beach,

30 O c t o b e r 1978. C r e s t o n Collection, Box 50.
3. Paul Creston, Ellensburg, Washington, to W a l t e r

Simmons, N e w York City, 11 A u g u s t 1970. C r e s t o n Collection,
Box 54.
4. D a v i d Ewen, American Composers Today (New York:

H.W. Wilson, 1949), 74.
5. H e n r y Cowell, "Paul Cres t o n , " M u s i c a l Q u a r t e r l y

34 (October 1948): 533.
251
6. Paul Creston, W h i t e Plains, New York, to Nicolas

Slominsky, Los Angeles, 10 July 1961. C r eston Collection,
B o x 54.
7. Cowell: 533-34.
8. M o n i c a Slomski, T a p e d interview with Paul Creston,

1982. C r eston Collection, Tape 135.
9. Paul Creston, Tuckahoe, Ne w York, to John Wigent,

Rochester, N e w York, 20 M a y 1949. C r e s t o n Collection, Box
55.
10. Slomski, Tape 135.
11. Paul Creston, Tuckahoe, N e w York, to Rob e r t

McBroom, Montreal, 22 F e b r u a r y 1948. Creston Collection,
B o x 72.
12. Cowell, 533. C r e s t o n once praised C o w e l l for

his perspicaciousness: "He n r y Cowell, while h e is a very
indivi d u a l i s t i c compo s e r w i t h his o w n style, is a critic
who can look at a piece o f music and tell you not what
it could or s h o u l d be, b u t what it is." See D u a n e A. White,
"Paul Creston: Italian by Parentage, Ameri c a n by Birth,
C o s m o p o l i t a n by Choice," M u s i c Clubs Magaz i n e (Spring 1983):
29.
13. A u t o b i o g r a p h i c a l notes, C r e s t o n Collection, Box

61 .
14. Paul Creston, T a p e d interview on KUSC-FM, Los

Angeles, undated. C reston Collection, Tape 131B.
15. Gladys Friedland, New York, to Paul Creston, New

York, undated. C r eston Collection, B o x 61.
16. M o n i c a J. Slomski, "Paul Creston: T h e Ma n and

His Music w i t h an A n n o t a t e d B i b l iography of his works."
(D.M.A. diss., U n i v e r s i t y of Missouri-Kansas City, 1987),
14. A c c o r d i n g to Willie L. Morris III, the S u i t e for
S a x o p h o n e , Op. 6, was the first piece for the c o n c e r t
saxoph o n e by an A m e r i c a n composer. See Willie L. Morris
III, "The D e v e l o p m e n t of th e S axophone C o m p o s i t i o n s of
Paul Creston." (D.M.A. diss., U n i v ersity of M i s s o u r i - K a n s a s
City, 1996), 7.
252

39. YADDO was an artist's colony and m u s i c f e s t i v a l founded
in 1924. It was held in three annual sessions in Saratoga
Springs, Ne w Y o r k an d only three c o m p o s e r s were invited
for each session. Guest composers in the early years
included L e o n a r d Bernstein, Aaron Copla n d , Ned Rorem, and
Virgil Thomson. See Stanley Sadie, ed. Th e New G r o v e
Dictionary of A m e r i c a n Music (New York: Grove's D i c t i o n a r i e s
of Music Inc., 1986): 575, s.v. "Yaddo," by John Shepard.
18. Paul Creston, New York, to H e n r y Cowell, San

Quentin, California, 14 J u l y 1939. C r e s t o n Collection,
Box 49.

Quentin, California, 7 December 1937. C r e s t o n Collection,
Box 49.

Quentin, California, 3 August 1938. C r e s t o n Collection,
Box 49.

61. The C r e s t o n ' s first child, Paul d i e d shortly after
birth. The C r e s t o n s had two other children: Joel was born
on 24 November 1938, and T i m was born o n 18 J a n u a r y 1944.
22. Paul C r e s t o n (Creston Collection, Box 61, undated

applic a t i o n for the 1938 Guggenheim).

Quentin, California, 3 August 1938. C r e s t o n Collection,
Box 49.
24. Slomski, 16-18.
25. C r e s t o n o f t e n pointed out, however, that his first

real teaching e x p e r i e n c e was at the a g e of twelve when
he substituted for his piano teacher. Se e Auto b i o g r a p h i c al
notes, Creston Collection, Bo x 61.
26. Mon i c a Slomski, T a p e d inte r v i e w with Paul Creston,

Cresto n Collection, Tape 135.
27. The o t h e r works w h ich were j u d g e d were A a r o n

Copland's L i n c o l n P o r t r a i t , William S c h u m a n ' s P r a y e r 1943,
Roy Harris' S y m p h o n y No. 5 , an d Morton Gould's S p i r i t u a l s .
28. Paul Creston, New York, to F e l i x Labunski,

Cincinatti, 26 J u n e 1943. Cr e s t o n Collection, Box 52.
253
29. O l i n Downes, "Critics' C h o ice," New York T i m e s ,

13 Ju n e 1943, Sec. 2, p. 5.
30. Paul Creston, N e w York, to Cecil Leeson, 20 M a r c h

1943. C r e s t o n Colle c t i o n , Box 52.
31. A r t u r o T o s c a n n i n i to Pau l Creston, N e w York, 21

S e p t e m b e r 1941. C r e s t o n Collection, Box 42.
32. Paul Creston, N e w York, to Cecil Leeson, 20 M a r c h

1943. C r e s t o n C o l l e c t i o n , Box 52.
33. Paul Creston, "A Co m p o s e r ' s C r e e d , " M u s i c

E d u cat o r ' s J o u r n a l (March 1971): 91.
34. H a r o l d Rogers, "Dallas A c c l a i m s B o s t o n S y m p h o n y , "

C h r i s t i a n S c i e n c e M o n i t o r , 4 May 1953, 4.
35. W i n t h r o p Sargent, "Musical E v e n t s , " N e w Y o r k e r

(31 O c t o b e r 1953): 115-117.
36. Virgil Thomson, "Music," N e w Y o r k H e r a l d T r i b u n e ,

27 F e b r u a r y 1947, 19.
37. Paul He n r y Lang, "Music: the P h i l h a r m o n i c , " New

Yor k H e r a l d T r i b u n e , 20 Jan u a r y 1956, 15.
38. C r e s t o n c o m p o s e d the m u s i c for f o u r t e e n e p i s o d e s

of "Tw e n t i e t h C e n t u r y , " w i t h W a l t e r C r o n k i t e as n a r r a t o r
b e g i n n i n g in 1959. C r e s t o n was p a r t i c u l a r l y fond of his
score to " R u s s o - F i n n i s h " war. H o w a r d and Pat Barr, P h o n e
i n terv i e w by author, 19 Jan u a r y 1997, K a n s a s City.
39. S u r v e y data f r o m Musical A m e r i c a k e p t by Paul

Creston, C r e s t o n Colle c t i o n , Box 48.
40. Thomas J. M orrow. "A G o o d C o m p o s e r N e v e r R e t i r e s , "

R a n c h o B e r n a r d o M a g a z i n e , Novem b e r 1980, 5.
41. He n r y Cowell, "Reviews of R e c o r d s , " Mus i c a l

Q u a r t e r l y 40 (October 1954): 624.
42. Henry Cowell, "Current C h r o n i c l e N e w York," M u s i c a l

Q u a r t e r l y 37 (January 1951): 78-81.
43. Paul Creston, Ellensburg, W a s h i n g t o n , to W a l t e r

Simmons, N e w York, 20 N o v e m b e r 1974. C r e s t o n Collection,
Box 54.
44. R e v i e w of S y m p h o n y No. 2 , by Paul Creston.

(J.S.S.R., 15 S e p t e m b e r 1956. C r e s t o n C o l l e c t i o n , Box 67.
254
45. W i n t h r o p Sargent, "Musical Events," N e w Yorker
(31 O c t o b e r 1953): 115-117.
46. "Paul C r e s t o n ' s Mus i c " 13 D e c e m b e r 1966 (Creston

Collection, Scrapbook, a r t i c l e of u n k n o w n author and
s o u r c e ).
47. C r e s t o n and his w i f e m o ved to the San D i e g o a r e a

shortly after hi s r e t i r e m e n t from C e n t r a l W a s h i n g t o n S t a t e
College.
48. "Gerard Schwa r t z T a l k s about A m e r i c a n Music"

(Creston Collec t i o n , Scrapbook, a r t i c l e of un k n o w n aut h o r
and s o u r c e ) .
49. Paul Creston, S a n Diego, to C h a r l i e Queener, N o r t h

Bergen, New J e r s e y , 1 N o v e m b e r 1976. C r e s t o n Collection,
Box 53.
50. N i c h o l a s Slonimsky, Los Angeles, to Paul Creston,

Rancho Bernardo, California, 20 N o v e m b e r 1983. C r e s t o n
Collection, Bo x 54.
51. Morrow: 5.
52. Paul C r e s t o n M e e t s the M i r e c o u r t T r i o , 1 hour,

Iowa Public TV, A p r i l 1980, videocassette, Cr e s t o n
Collection.
53. Paul Creston, S a n Diego, to Toots Mondello, New

York, 23 April 1980. C r e s t o n Collection, Box 53.
54. Paul Creston, R a n c h o Bernardo, California, to

Robert Anderson, Cascade, Wyoming, 15 April 1984. C r e s t o n
Collection, B o x 49.
55. Edward Rothstein, "Music: Y C h a m b e r S y m p h o n y G i ves

Twist to the P a s t , " New Y o r k T i m e s , 20 Oc t o b e r 1981, sec.
C, p. 11.
56. Paul Creston, R a n c h o Bernardo, California, to

Charles Berry, Portland, 1 N o v e m b e r 1984. Creston
Collection, Box 49.
57. S e b a s t i a n and A n n Caratelli, A u g u s t 1985 (Creston

Collection, Box 67, notes to memor i a l service program).
255
CHAPTER 2
1. Paul Creston, 27 M a y 1951 (Creston Collection,

Box 32, p r o g r a m notes).
2. Ibid.
3. M o n i c a Slomski, Taped i nterview wit h Paul Creston,

C r e s t o n C o llection, T a p e 137.
4. Paul Creston, New York, to L e o p o l d Stokowski,

B e v erl y Hills, 17 F e b r u a r y 1943. C r e s t o n Collection, Box
42.
5. A a r o n C o p l a n d and V i v i a n Perlis, Copland: 1900

T h r o u g h 1942 (New York: St. M a r t i n 's/Marek, 1984), 285.
6. Ibid, 285.
7. C o l u m b i a University, N e w York, to Paul Creston,

New York, 4 F e b r u a r y 1943. C r e s t o n C o llection, B o x 43.
8. Paul Creston, N e w York, to I n d i a n a p o l i s S y m p h o n y

Orchestra, I n d ianapolis, Indiana, 17 F e b r u a r y 1943. Cre s ton
9. Paul Creston, N e w York, to A n d o r Foldes, N e w York,

15 O c t o b e r 1943. C r e s t o n Collection, B o x 51.
10. Paul C r e s t o n (Creston Collection, Box 33, personal

notebook).
11. A l i c e Eversman, "News of Music," E v e n i n g Star

(Washington), 28 May 1951, sec. A, p. 15.
12. G l e n n D i l l a r d Gunn, "Pianist d'Amore, O r c h e s t r a

Brilliant in C r e s t o n Fantasy," T i m e s - H e r a l d (Washington),
28 May 1951, 9.
13. Paul C r e s t o n (Creston Collection, Box 33, personal

inventory sheet l i s t i n g performances of works).
14. V i o l a Malkin, Philadelphia, to Paul Creston,

Tuckahoe, N e w York, 9 O c t o b e r 1950. C r e s t o n Collection,
Box 45.
15. Paul Creston, Tuckahoe, New York, to R u d o l p h

Thomas, Silvermine, Connecticut, 14 F e b r u a r y 1949. Cr e s t on
256
16. Paul Creston, T uckahoe, Ne w York, to E u g e n e
Ormandy, Philadelphia, 14 F e b r u a r y 1949. C r e s t o n Collection,
Box 45.
17. Paul Creston, T u c k a h o e , Ne w York, to Don Lentz,

Lincoln, Nebraska, 25 June 1949. C r e s t o n Collection, Box
52.
18. Paul Creston, T u ckahoe, N e w York, to Jose Echaniz,

G rand Rapids, Michigan, 5 M a y 1950. C r e s t o n Collection,
Box 71.
19. Howard Mitchell, W a s h i n g t o n , to Paul Creston,

Tuckahoe, N e w York, 13 S e p t e m b e r 1949. C r e s t o n Collection,
Box 62. The world p r e m i e r e o f the F a n t a s y actua l l y o c c u r r e d
in Lille, Fr a n c e on N o v e m b e r 21, 1949, d u r i n g a live radio
broadcast. Apparently, this d i d not a b r o g a t e terms of
the co m m ission w h ich s t i p u l a t e d the work be p r e m i e r e d in
Philadelphia.
20. Michael R o l l a n d D a v i s Productions, Columbus, Ohio,

to the author, Kansas City, M i ssouri, 19 April 1997. Wild
did not play the N a r r a t i v e s .
21. Paul Creston, 1 N o v e m b e r 1950 (Creston Collection,

Box 32, p r ogram notes).
22. Paul Hume, " N a t i o n a l S y m p h o n y Reaches P e a k in

R achma n i n o f f Works," W a s h i n g t o n P o s t , 2 Nove m b e r 1950.
23. M i l t o n Berliner, " E v e n i n g Series Opens to O v ation

from Audience," W a s h i n g t o n D a i l y N e w s , 2 November 1950.
24. A l ice Eversman, " S y m p h o n y C o n c e r t Makes Hi s t o r y

with Premiere of C r e s t o n ' s C o n c e r t o , " E v e n i n g Star
(Washington), 2 N o v e m b e r 1950.
25. G l e n n D i l l a r d Gunn, " C r e s t o n C o n c e r t o is I n t r oduced

by Wild, Orchestra," T i m e s - H e r a l d (Washington), 2 November
1 950.
26. M. Brozen, " O r c h e s t r a in N e w York," M u sical America

83 (January 1963): 9.
27. Louis Biancolli, " K o r n Condu c t s at C a r n egie,"

New Y o r k W o r l d T e l e g r a m , 8 N o v e m b e r 1962, 29.
28. W illiam Flanagan, " O r c h e s t r a of A m erica Plays

Bach at Carnegie," N e w York Post, 8 N o v e m b e r 1962, 53.
257
29. R o n a l d Eyer, "Music: O r c h e s t r a of America," N e w

York H e r a l d T r i b u n e , 8 N o v e m b e r 1962, 20.
30. H a r o l d C. Schonberg, "Music: O r c h e s t r a of A m e r i c a

Heard," N e w Y o r k T i m e s 8 N o v e m b e r 1962, 51.
31. Paul Crest o n , West Plains, Ne w York, to Harold

Schonberg, N e w York, 27 N o v e m b e r 1962. C reston Collection,
Box 54.
32. H a r o l d Schonberg, N e w York to Paul Creston, W h ite

Plains, N e w York, 28 N o v e m b e r 1962. Creston Collection,
Box 54.
33. M i l e s K a s t e n d i e c k , "At C a r n e g i e Hall: Ameri c a n

M u sic P r o v e s I n t e r e s t i n g , " N e w York Journal A m e r i c a n , 8
Nov e m b e r 1962, 19.
34. " N e w W o r k s " Th e M u s i c J o u r n a l 21 (January 1963):

1 08.
35. J o h n Ogden, Isleworth, England, to Paul Creston,

W h ite Plains, N e w York, 9 A p r i l 1964. Creston Collection,
Box 53.
36. P a u l Crest o n , R a n c h o Bernardo, California, to

Howa r d Wells, S a n Diego, 27 F e b r u a r y 1976. C r e s t o n
C ollection, B o x 55.
37. P a u l Crest o n , R a n c h o Bernardo, California, to

Guy Freedman, N e w York, 4 F e b r u a r y 1980. C r e s t o n Collection,
Box 50.
CHA P T E R 3
1 . C o w e l l , 53 3.
2. S l o m s k i , 69.
3. T h i s o s s i a is i l l u s t r a t e d in Example 44. The

examp l e s in this c h a p t e r are from Paul Creston, Fantasy
for P i ano a n d O r c h e s t r a , Op. 32 (New York: G. Schirmer,
1972).
4. P a u l C r e s t o n , P r i n c i p l e s of Rhythm (Melville,
NY: B e l w i n Mills, 1964), 53-130. For a compl e t e d e s c r i ption
of the s t r u c t u r e s , r e f e r to A p p e n d i x A.
5. Sloms k i , 160. T h e o t h e r two methods C r e s t o n u s e d

were d o m i n a n t - t y p e s t r u c t u r e s an d inverted p e dal tones.
258
6. Slomski, 93.
7. W a l t e r Simmons, New York, to Paul Creston, R a n c h o

Bernardo, California, 1981. C r e s t o n Collection, Box 54.
8. Creston, "Cre a t i v e H a r m o n y , " 64.
9. Slomski, 128.
10. Creston, "Cre a t i v e H a r m o n y , " 45.
11. Paul Creston, "Fantasy for Pi a n o and Orchestra"

(Creston Collection, B o x 2, h o l o g r a p h score).
12. Paul Creston, Rancho Bernardo, California, to

A a r o n Smith, Alma, Michigan, 2 M a y 1977, Creston Collection,
Box 54.
13. It appears f rom the h o l o g r a p h score that the

passage lin k i n g m e a s u r e s 274 to 282 wer e a last-minute
a d d i t i o n by Creston.
14. In the h o l o g r a p h score, C r e s t o n n o t a t e d an os s i a

where the left hand c o u l d omit the m i d d l e member of the
chord.
C H A PT E R 4
1. Paul Creston, T a p e d i n t e r v i e w on KUSC-FM, Los

Angeles, undated. C r e s t o n Collection, T a p e 131B.
2. ibid.
3. Pat Barr, V i d e o t a p e d interview, in An Interview

with Mrs. Paul C r e s t o n (UMKC Film, 1987) Creston Collection.
4. T i m Creston, P h o n e i n t e r v i e w by author, 1 November

1997, Kansas City.
5. Creston, " C r e a t i v e Harm o n y , " 130.
CHAPTER 5
1. Paul Creston, " P y t h a g o r a s — The Musician's

P h i l s o p h e r ," The S i n f o n i a n N e w s l e t t e r , F e b r u a r y 1973, 9.
2. Paul Creston, "Whither C o n t e m p o r a r y Music?,"

(Creston Collection, B o x 33, speech), 8.
259
3. Mer y l e Secrest, L e o n a r d Bernstein (New York: Alfred

A. Knopf, 1994), 305.
4. Paul Creston, W h i t e Plains, New York, to "music

editor , " Ne w Y o r k Herald T r i b u n e , N e w York, 24 March 1961.
C r e s t o n Collection, Box 52. C r e s t o n also o n c e said on the
subject, "How di d I know my stuff was good? I know as
well as anyone else who has d e v e l o p e d a m u s i c a l ear . . .
no more, no less. I can be right or I can be wrong, just
as any o n e else. But I a l s o know that I am p e r f e c t l y honest
w i t h myself. No artist ca n create with a p r e o c c u p a t i o n
of w h e t h e r his efforts w i l l please an a u d i e n c e or the
critic s . " See Paul Creston, Tuckahoe, New York, to Ro b e r t
McBroom, Montreal, 22 F e b r u a r y 1948. Cr e s t o n Collection,
Box 52.
5. Paul C r e s t o n " C r e a t i v e Harmony," 31.
6. Paul Creston, "The L a n g u a g e of Music," (Creston

Collection, B o x 33, speech), 11.
7. Paul Creston, Tuckahoe, N e w York, to Rudolph

Willman, New York, 16 J a n u a r y 1941. Creston Collection,
Box 55.

61 .
9. R o b e r t Cowan, Montevallo, Alabama, to Paul Creston,

Ellensburg, Washington, 16 April 1968. C r e s t o n Collection,
Box 50.
10. Secrest, 102.
APPENDIX A
1 . Paul Creston, Tuckahoe, N e w York, to F a n n y Brandeis,

Louisville, Kentucky, 30 O c t o b e r 1954. C r e s t o n Collection,
Box 49.
APPENDIX C
1. C r e s t o n p r e f e r r e d to use "modified r e v i s e d
spelling," e s p e c i a l l y in his later years. W o r d s like
"should" have b e e n w r itten as "shood," "everyone" as
"evryone," "does" as "duz," etc. S o m e of his letters of
the 1970s and 1980s utilize this spelling, a n d have been
c o n v e r t e d back to standard E n g l i s h in this dissertation.
SELECTED B I B L I O G R A P H Y
Cowell, Henry. " C u r r e n t l y C h r o n i c l e N e w York." Musical

Q u a r t e r l y 37 (January 1951): 78-51.
_______ . "Paul C r e s t o n . " M u s i c a l Q u a r t e r l y 34 (October

1948): 533-541.
Creston, Paul. "A C o m p o s e r ' s C r eed." Mu s i c a l Educator's

J o u r n a l (March 1971): 36-39.
_______ . "Creative Harmony." M a n u s c r i p t .
_______ . Pr i n c i p l e s of R h y t h m . Melville, NY:Belwin Mills,

1 964.
______. Ratio n a l M e t r i c Notation: Th e M a t h e m a t i c a l Basis

of Meters, S y m b o l s and N o t e - V a l u e s . Melville, NY:
Be l w i n Mills, 1979.
A n Int e r v i e w with Mrs. Paul C r e s t o n . U M K C Film, 1987.
Mitchell, Howard. "The H a l l m a r k of G r e a t n e s s . " Musical

C o u r i e r 154 (November 19 56): 9-10.
The Ne w G r o v e D i c t i o n a r y of M u s i c and M u s i c i a n s . S.v. "Paul

Cre s t o n , " by W a l t e r Simmons.
Paul C r e s t o n Meets the M i r e c o u r t T r i o . Iowa Public TV

V ideoc a s s e t t e , 1980.
Schonberg, Harold. "A F a s c i n a t i n g D o c u m e n t of Musical

F u t i lity." Th e Ne w York Times, 31 J u l y 1977, sec.
2, p. 13.
______. "Music: O r c h e s t r a of A m e r i c a Heard." The New York

T i m e s , 8 N o v e m b e r 1962, 51.
Schwartz, Gerard. " G erard S c h w a r t z T a l k s about Ameri c a n

M u s i c . " P r o g r a m notes to Delos c o m p a c t disck DE3114,
1 992.
260
261
Simmons, Walter. "Paul C r e s t o n . " O v a t i o n 2 (October 1981):

29-31.
Slomski, Monica J. "Paul Creston: The M a n and His M u s i c

w i t h an A n n o t a t e d B i b l i o g r a p h y of his Works." D.M.A.
diss., U n i v e r s i t y of M i s s o u r i - K a n s a s City, 1987.
Walgren, Carol. " P aul Creston: S o l o P i a n o Music." A m e r i c a n

M u s i c T e a c h e r (April-May 1975): 23-25.
White, D u ane A. " P aul Creston: I t a l i a n by Parentage,

A m e r i c a n by Birth, C o s m o p o l i t a n by Choice." M u s i c
C l ubs M a g a z i n e (Spring 1983): 29-30.
VITA
Paul Edward Higdon was born o n June 22, 1965 in
Waterloo, Iowa and was r a i s e d in W e s t Burlington, Iowa
by his parents, Stan a n d M a r i a n n e Higdon. He attended
Truman State U n i v e r s i t y (formerly N o r t h e a s t Missouri State
University) in Kirksville, M i s s o u r i both as an u n d e r g raduate
and Master's student. A t Truman, he studied piano w i t h
Profe s s o r Dr. D a v i d W. M c K a m i e a n d A r t i s t - i n - R e s i d e n c e
Dr. William Bla i n e and w o n piano c o m p e t i t i o n s in Illinios,
Misssouri and Arkansas.
Af ter spend i n g a s e m e s t e r (in 1990) teaching E n g l i s h
at a major u n i v ersity in Guangzhou, China, Mr. Higdon began
his doctoral studies w i t h Joanne Baker, Curators' P rofessor
of Piano, at the U n i v e r s i t y of M i s s o u r i - K a n s a s City
Conservatory of Music. D u r i n g t h a t time, Mr. Higdon w o n
UMKC's Conc e r t o / A r i a c o m p e t i t i o n a n d the J e fferson C i t y
Symphony Concerto c o m p e t i t i o n w h e r e he played with the
respective orchestras. H e also r e c e i v e d first place at
the MMTA graduate d i v i s i o n and the p restigious Graduate
Achiev e m e n t A w a r d of the C o n s e r v a t o r y . Wit h i n the last
year, Mr. Higdon has p e r f o r m e d w i t h a UMKC chamber o r c h e stra
and the Timberline S y m p h o n y O r c h e s t r a in Colorado.
262
263
Mr. Higdon ha s served as a gradu a t e teaching a s sistant
at both Truman S t a t e and CJMKC. He has a l s o served as an
adjudi c a t o r t h r o u g h o u t the state of Missouri. Currently,
Mr. Hig d o n m a i n t a i n s an active private p i a n o studio, and
teaches class piano, music appreciation, music t h eory, and
music literature as an adjunct instructor at Kansas City
Kansas Com m u n i t y College.
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Phone: 716/482-0300
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FANTASY FOR PIANO AND ORCHESTRA,

OPUS 32, AND CONCERTO FOR PIANO

B.A. T r u m a n S t ate University, 1988

K ansas City, Missouri

UMI Microform 9912978

This microform edition is protected against unauthorized

FANTASY FOR PIANO AND ORCHESTRA,

OPUS 32, A N D C O N C E R T O FO R PIANO

Paul E. Higdon, Doctor of Musical Arts

The p l i g h t of the m o d e r n piano concerto is not a h a p p y

one; often concertos a r e p e r f o r m e d a few times only to be

relega t e d to obscurity. Paul C r e s t o n ' s Fantasy for P i ano

and O r c h e s t r a , Op. 32 (1943) and C o n c e r t o for Piano and

O r c h e s t r a , Op. 43 (1949), at one time p erformed by pianists

G a r r i c k Ohlsson, Eug e n e List and Earl Wild, h a v e gen e r a l ly

suffered this fate.

Creston (1906-1985) was a s i g n i f i c a n t A m e r i c a n c o m p o s e r

whose vast c o m p o s i t i o n a l out p u t (famed for including works

for the "neglected" instruments) has b e e n c h a m pioned a r o u n d

the world by s u c h co n d u c t o r s as A r t u r o Toscanini, Eugene

Ormandy, Pi e r r e Monteux, and others. Creston's o r c h e s t r al

works, which e n j o y e d t r e m e n d o u s success in the 1940s and

The p i a n o concerto is a complex, yet a c c e s s i b l e

t h r e e - m o v e m e n t work imbued w i t h C r eston's p a n tonal h a r m o n i c

v o c a b u l a r y and unique r h y t h m i c structures. Sadly, this

w o r k has bee n u n p e r f o r m e d since the 1960s. The smaller

F a n t a s y contains similar features. It was p e r f o r m e d

f r e q u e n t l y in the 1940s but als o has s u f fered neglect in

The p u r p o s e of this st u d y is: (1) to p r o v i d e h i s t o r i c a l

b a c k g r o u n d to Creston's piano c o n c e r t o and F a n t a s y u t i l i z i n g

suc h primary sources as programs, reviews, scrapbooks,

a n d correspondence; and (2) to p r o v i d e a s t y l i s t i c a n a l y s i s

of the two wo r k s from h o l o g r a p h i c scores. Research data

was o b t ained f rom original m a n u s cripts, Creston's

c o r r e s p o n d e n c e with the p e r f o r m e r s a n d c o n d u c t o r s of the

works, recordings, and o t h e r d o c u m e n t s in the Cre s t o n

C o l l e c t i o n at the Miller Nic h o l s M u s i c / M e d i a Library at

the Un i v e r s i t y of Missouri at K a n s a s City.

This a b s t r a c t of 254 words is approved as to form a n d

Shirley A. Bean, D.M.A.

"A S t y l i s t i c A n a l y s i s o f Paul Cres t o n ' s Fantasy for Piano

a n d O r c h e s t r a , Opus 32, an d C o n c e r t o for Piano a n d

O r c h e s t r a , O p u s 43," p r e s e n t e d by Paul E. Higdon, c a n d i date

for the D o c t o r of M u s i c a l Arts, and her e b y c e r t i f y in t h eir

Baker, M.M. Date

R i c h a r d Cass, B.A. Date

'flcnS- JO. ,n?r

L IST OF MUSICAL E X A M P L E S ................................... vii

LIST OF T A B L E S ................................................ xiv

1. BIOGRAPHICAL SKETCH ...................................... 10

2. HISTORICAL B A C K G R O U N D O F THE F A N T A S Y FOR PIANO AND

The Fantasy for P i a n o and O r c h e s t r a ................... 26

The Concerto for P i a n o and O r c h e s t r a ................. 29

3. A STYLISTIC ANALYSIS O F THE F A N T A S Y FOR PIANO AND

4. A STYLISTIC ANALYSIS O F THE C O N C E R T O FOR PIANO AND

Movement O n e ............................................ 102

Movement T w o ............................................ 145