Walter Piston (1894-1976) was one of several early- to mid-twentieth century American composers whose works were liked, respected and performed during their lifetimes, then all but disappeared after the mid-'fifties. His work ranges from warmly tonal to strictly atonal but in general he is regarded as a conservative composer for his time.

This conservatism, however, is not to be confused with a lack of originality or musical identity. Bach and Brahms were considered conservative composers, after all. Even if Piston doesn't entirely bear such lofty comparison, his music has a great deal to offer.

The 1950 Symphony no. 4 is a particularly melodic work. The composer described it as "perhaps nearer than my other works to the solution of the problem of balance between expression and formal design." One might recast that description and say that it is an attractive, captivating work wrought with the highest technical standards. It is brilliantly orchestrated, contrapuntally subtle and persuasive in its formal organization.

A slightly drier and considerably shorter work, Piston's Capriccio for Harp and String Orchestra nevertheless maintains a firm grasp on the listener's attention with its virtuoso writing and, once again, its contrapuntal integrity.

Three New England Sketches is one of this composer's few programmatic works. Piston maintained that its three movements, Seaside, Summer Evening and Mountains reflect the moods conjured up by their titles and were not intended to be descriptive. Most listeners will hear a certain amount of descriptive - or at least evocative - detail, though.

Schwartz, the Seattle Symphony and harpist Wunrow give unfailingly committed and exciting accounts of the scores, and the recorded sound is vivid and robust. Definitely recommended.