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Louisville Orchestra conducted by Jorge Mester I - Con moto: 0:00 II - Adagio pastorale: 6:30 III - Allegro festevole: 16:36 Piston's Seventh Symphony was commissioned by the Philadelphia Orchestra Association, and was premiered by that orchestra, conducted by Eugene Ormandy, on February 10, 1961. The symphony was awarded a Pulitzer Prize in 1961, which was the second time for Piston (his first was in 1948 for his Third Symphony). The work was written shortly after Piston's New England Sketches, one of the very rare works by this composer possessing extra-musical associations. Close resemblance between the Sketches and this symphony had led commentators to apply pictorial content to the Seventh. Piston's biographer Howard Pollack goes so far as to say the symphony can be called Piston's "Pastoral" Symphony due its links with the New England Sketches. When Piston was composing his Seventh Symphony he took into account the particular sonic character of the Philadelphia Orchestra's rich string timbres, as well as the acoustics of the Philadelphia Academy of Music where it was to be premiered. The first movement is written as a concise sonata form. The main theme, interpreted by the strings, English horn and clarinets, is strongly rhythmic and vigorous, using chromatic scales in it's construction. The second theme is more melodic but full of an obscure spirit. The development arrives at agitated rhythmic explosions, using an intensely chromatic language and a great contrapuntal density. A free-way recapitulation leads us to a cello solo, ending with a contrapuntal duo of the horns. The second slow movement is based as a theme with four continous variations. It begins with a soft introduction of the strings to make way to a contemplative main theme, presented throught an oboe solo. The first variation is a pastoral chromatic solo, full of arabesques and ornamentations, of the flute over a desolate ambient, which is answered by the violins and woodwinds. The second variation is a dynamic and strongly chromatic section of the strings which builds up until a dissonant climax. The third variation is a return to the main theme but with the English horn interpreting the initial solo of the oboe. The fourth and last variation has an intervention of the flute, closing the pastoral ambient. The finale, as in Piston's other symphonies, is sunny and brilliant, being written as a short rondo (A-B-A-C-A-B-A). The main theme is a rhythmic dance presented by the strings, accompanied by horns and the timpani, in a cheerful festival atmosphere. The second theme is impressionistic, interpreted by the basses of the strings accompanied by the harp. Then, the main theme reappears triumphantly, enhanced by percussion. The third theme is more lyrical, perfectly combining the pizzicato of the strings with the English horn. Another episode consists of a tender melody played by the violins, followed by the rest of the orchestra in counterpoint. Finally the violins return to the main theme finishing the work with three strong chords of the orchestra. It is a work that despite its brilliant orchestration. Its neoclassicism is modernized by the use of a singular chromatic harmony. The critics where divided after the premiere, part of the critics defined it as gray and lacking in expressing something interesting, but Critic Edwin Schloss (The Philadelphia Inquirer) called it “one of the most interesting and rewarding new works in several seasons.” Paul Hume (The Washington Post) especially praised the second movement for its “luxuriant fabric of sound,” observing that “the manner in which the oboe rises from a couch of thick-clustered tones is about as sumptuous as you can get these days, and its closing duet with the English horn is a touch of equal genius.” Picture: "The Ballad of the Jealous Lover of Lone Green Valley" (1934) by the American painter Thomas Hart Benton. Sources: http://www.historiadelasinfonia.es/na..., https://en.wikipedia.org/wiki/Symphon...) and https://www.allmusic.com/composition/.... I also added some to the description, especially the second movement.