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He has since gone on to fulfill that promise. His composition teachers included David Diamond and Vincent Persichetti. He wrote this piano set two years after finishing his doctorate. In the s he went on to write acclaimed symphonies and concertos for such soloists as flutist James Galway and Stephen Hough. He is among the generation of American composers who left the old twelve-tone system behind and rediscovered the vitality of an extended use of tonality, freely using all the chromatic notes but generally remaining in contact with a sense of tonal center.
As a longtime devotee of art and architecture, Liebermann joins many in being bemused by gargoyles, the representations of fantastic monsters that often embellish churches and other old buildings and are said to have been placed there to scare away evil spirits.
The title "Gargoyles" refers to the general mood of the set -- which is eerie and mysterious throughout and often scary and threatening -- but the individual pieces do not depict any particular real or imagined gargoyles. The piano style is rather similar to that of Sergey Prokofiev , although the harmonies are a bit more densely chromatic. Altogether the piece runs about ten minutes. The first movement, Presto, is a devilish work at rapid speed with wide leaps, double notes, and quick, disorienting changes in touch and loudness.
The whole effect is unsettled. The following Adagio semplice, ma con molto rubato, is a very Romantic piece in mood though the harmonies remain more modern , with repeated figures in the bass and a legato melody in octaves. Even more flowing and beautiful is the third movement, Allegro moderato.
Here a melody is embedded in a flowing, wave-like figure that both hands share. The finale is another movement at a flat-out tempo, Presto feroce. It is ferocious, a taxing and grotesque dance in the venerable Italian tarantella rhythm.
GARGOYLES LIEBERMANN PDF
Format Descriptions Publishers use a lot of words to describe what they sell, and we know it can be confusing. Below are descriptions of the terms that we use to describe the various formats that music often comes in. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase. Facsimile of the Autograph These are hardcover, research-quality reproductions of the original hand-written scores from the composer.
He has since gone on to fulfill that promise. His composition teachers included David Diamond and Vincent Persichetti. He wrote this piano set two years after finishing his doctorate. In the s he went on to write acclaimed symphonies and concertos for such soloists as flutist James Galway and Stephen Hough.
Gargoyles (4) for piano, Op.29