1906 - 1985
Creston considered his greatest "teachers" to be Bach, Scarlatti, Chopin, Debussy, and Ravel. He wrote in an accessible, conservative style that incorporated song and dance idioms and often featured unusual instruments like the trombone, marimba, or saxophone. Lush harmonies and expansive orchestrations characterize an often brash and spontaneous body of work, organized around a remarkable mastery of thematic development evident in works such as the Symphony No. 2 and Chant of 1942.
Creston was the recipient of many awards and honors including a Guggenheim Fellowship and the New York Music Critics' Circle Award for his Symphony No. 1. He is the author of Principles of Rhythm and Rational Metric Notation as well as numerous articles analyzing four centuries of rhythmic practice.