Uploaded October 2025 | Updated September 2026, 2 weeks ago
Portland String Quartet with Leonard Hokanson as the pianist.
I - Allegro commodo: 0:00
II - Adagio: 5:49
III - Allegro vivo: 15:00
Piston's Piano Quintet was composed on 1949, being commissioned by the University of Michigan. It was premiered on August 2 of 1949, performed by the Stanley Quartet and pianist Joseph Brinkman at Ann Arbor, Michigan. The sense of elegance and calm that opens the work seems to flow from the French roots of the composer's studies with Nadia Boulanger; indeed, the spirit of Piston's work at times recalls the chamber music of Gabriel Fauré. It confirms Piston's mastery of form and reveal further aspects of his ability to convey a wide range of moods.
The first movement is structured in sonata form. It begins with a flowing main theme presented between strings and piano in even, balanced phrases in octaves. The material soon becomes more rugged and rhythmic in a brief climax, the piano taking a concerto-like solo role throughout. A more lyrical second theme is introduced by strings, offering contrast. Follows a short but agitated development, reaching a dissonant climax after several modulations. The themes are then recapitulated, ending the allegro with a resolute coda.
The second movement is written in form of an arch. It opens with a pensive and nocturnal main theme introduced by strings, which unfolds in an expressive and dramatic way, almost like an elegy. While Piston's most famous and known pieces tend to be light and cheerful in tone, he was also perfectly capable of writing tragic and expressive music. Two poignant climaxes are reached, separated by a melancholic transition. The adagio then ends with a return to the opening pensiveness.
The third movement is also written in sonata form. It begins with a lively and cheerful main theme, folkish in nature and built on syncopated rhythms. The second theme is more subdued and jazzy, while still being mostly rhythmic. This material is firmly based in the key of G major. The development consists on a crescendo that transforms both themes, opening with figures on muted strings. The material is then recapitulated, ending the work with a vigorous and brilliant coda.
Picture: "High Noon" (1949) by U.S. painter Edward Hopper.
Musical analysis mostly written by myself. Source: tinyurl.com/22y6fy3r
Unfortunately, the score is not freely available.
Portland String Quartet with Leonard Hokanson as the pianist.
I - Allegro commodo: 0:00
II - Adagio: 5:49
III - Allegro vivo: 15:00
Piston's Piano Quintet was composed on 1949, being commissioned by the University of Michigan. It was premiered on August 2 of 1949, performed by the Stanley Quartet and pianist Joseph Brinkman at Ann Arbor, Michigan. The sense of elegance and calm that opens the work seems to flow from the French roots of the composer's studies with Nadia Boulanger; indeed, the spirit of Piston's work at times recalls the chamber music of Gabriel Fauré. It confirms Piston's mastery of form and reveal further aspects of his ability to convey a wide range of moods.
The first movement is structured in sonata form. It begins with a flowing main theme presented between strings and piano in even, balanced phrases in octaves. The material soon becomes more rugged and rhythmic in a brief climax, the piano taking a concerto-like solo role throughout. A more lyrical second theme is introduced by strings, offering contrast. Follows a short but agitated development, reaching a dissonant climax after several modulations. The themes are then recapitulated, ending the allegro with a resolute coda.
The second movement is written in form of an arch. It opens with a pensive and nocturnal main theme introduced by strings, which unfolds in an expressive and dramatic way, almost like an elegy. While Piston's most famous and known pieces tend to be light and cheerful in tone, he was also perfectly capable of writing tragic and expressive music. Two poignant climaxes are reached, separated by a melancholic transition. The adagio then ends with a return to the opening pensiveness.
The third movement is also written in sonata form. It begins with a lively and cheerful main theme, folkish in nature and built on syncopated rhythms. The second theme is more subdued and jazzy, while still being mostly rhythmic. This material is firmly based in the key of G major. The development consists on a crescendo that transforms both themes, opening with figures on muted strings. The material is then recapitulated, ending the work with a vigorous and brilliant coda.
Picture: "High Noon" (1949) by U.S. painter Edward Hopper.
Musical analysis mostly written by myself. Source: tinyurl.com/22y6fy3r
Unfortunately, the score is not freely available.
