Tony Duggan wrote:

>I want to hear more Paul Creston.  Can I? I want to hear
>more about Paul Creston.  Tell me.

 From the Oxford Concise Dictionary of Music:

   Creston, Paul (orig. Joseph Guttoveggio) (b NY,1906 d 1985).
   Amer. composer and organist of It. origin,
   Self-taught in harmony and comp.
   Organist St. Malachy's, NY, 1934--.67.
   Comps. incl.:
   Orch.: 5 syms. (1941-56), Walt Whitman (1952), Pavane Variations (1966);
     Concertos: sax. (1941), harp (Poem)(1945), tb. (Fantasy) (1947), pf.
     (No.1 1949, No. 2 1962), 2 pf. (No. I 1951, No. 2 1968), vn. (No. I
     1956, No. 2 1960), accordion(1958).
   Also choral works, chamber mus., songs, pf.pieces.

 From the G. Schirmer web page
(http://www.schirmer.com/composers/creston_bio.html)

   Paul Creston was born 10 October 1906 in New York of Italian parentage.
   Entirely self-taught with the exception of piano and organ lessons
   in his youth, Creston pursued studies in theory, composition,
   literature, and philosophy while working to support himself and his
   poor immigrant family.  Fiercely independent by nature, the composer
   developed his style free of any particular school of thought or
   teacher's influence and made rhythm a cornerstone of his work, often
   emphasizing shifting subdivisions of regular meters.  He created
   works in many genres including five symphonies, concertos for violin,
   piano, saxophone, and marimba, several dance works, songs, and choral,
   chamber, and instrumental pieces.

   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.

   Chant of 1942, Op. 33

     Crystal CD 508
        Israel Philharmonic Orchestra/David Amos

   Fantasy for Trombone and Orchestra, Op.42

     BIS CD-628
     Christian Lindberg, trombone; Malmo Symphony
        Orchestra/James DePreist

   Invocation and Dance, Op. 58

     First Edition Recordings LCD005
        Louisville Orchestra/Lawrence Leighton Smith
     Delos DE 3114
        Seattle Symphony Orchestra/Gerard Schwarz

   Symphony No. 2, Op. 35

     Koch International Classics 3-7036-2H1
        Krakow Philharmonic/David Amos
     Chandos CHAN 9390
        Detroit Symphony/Neeme Jarvi

   Symphony No. 3, Op. 48 and Symphony No. 5, Op. 64

     Delos DE 3127
        Seattle Symphony/Gerard Schwarz

   Toccata, Op. 68

     Delos DE 3127
        Seattle Symphony/Gerard Schwarz

   Walt Whitman, Op. 53

     Koch International Classics 3-7036-2H1
        Krakow Philharmonic Orchestra/David Amos

Some of my own comments:

His Dance Overture and Invocation and Dance were popular among american
orchestras at one point.  His Saxophone concerto, Marimba concerto, and
Trombone Fantasy remain popular as solo pieces for secondary and college
students.  The New York Phil performed a number of his works during the
1940s.  His first symphony I believe was premiered by a Mahler (Sorry, it
was Fritz, not Gustav).  There's also an AS disc of Cantelli conducting the
Dance Overture and 2 Coric Dances (AS 515).  I also have some old NY Phil
program notes if your interested.

Aloha and Mahalo,

Eric Nagamine