Liebermann Piccolo Concerto Pdf 11
in his first public recital, liebermann played pieces by beethoven, chopin and mozart, and in his studio recital he played his own compositions. he wrote that it was a great moment in his life and he would like to repeat it. he taught composition at the university of texas at austin for almost 20 years before accepting a position as composer-in-residence at the new york philharmonic, where he currently serves.
the music for the liebermann concerto is not a series of rhythmic patterns and blocks. it is a continuous flow of contrasting, yet coherent parts. it is a unique music in its form, style, and structure.
the roots of liebermann’s approach to harmony and form lie in the works of the romantic tradition, the music of mozart and chopin. but his approach is not direct. he is not a follower, but a champion. some might say that he has added new features to the old forms. the shape of his piano concerto is that of a musical arch. from the very beginning, the form of the piano concerto is a four-movement structure, with a solemn prelude, a lyrical exposition, a turbulent development section and a bravura finale.
liebermann’s music is full of energy and tension. everything is full of movements and variations. there is a constant evolution in his music. a melody or a harmony changes over and over again, while the overall form remains intact. the composer is always looking for new solutions to the problems he sets himself. he is one of the few contemporary composers who have a clear and simple concept of the “art” of composing. a composer must be a craftsman, he says. but a craftsman should also be a poet. art is something that you can never achieve completely. it is something that you can only do.
the piccolo concerto consists of six solo piano pieces. the six essays are: “backward glissando,” “ironic adagio,” “birds in flight,” “andante rhetoric,” “gypsies and woodwinds” and “variations on a theme of mozart.”
the first piece of the set, “backward glissando,” establishes the “thematic” and the “structural” key relationships. liebermann’s rhythmic and harmonic language, derived from the structure of music, is reminiscent of debussy. the work begins with a descending b minor pedal on the piano. this bass note is repeated at a higher, more dissonant note, b-flat. the dissonance with which b-flat is struck is an octave away from b, a pattern that repeats itself throughout the piece.
the third piece, “birds in flight,” is a “march” for piano written for the 50th anniversary of the st. louis symphony, in 1987. liebermann uses the glissando technique to alter the timbre of the piano. the highest note reached is g-sharp, a fourth above the lowest one. liebermann has also written a “birds in flight” for the flute and piano, as well as a “birds in flight” for the clarinet and piano.
the fourth piece, “andante rhetoric,” is a “slow” for piano written for the occasion of the 70th anniversary of the dallas symphony, in 1987. liebermann uses the glissando technique to alter the timbre of the piano. the highest note reached is a-sharp, a fourth above the lowest one.
at the time, liebermann was 25. but his first work for orchestra was conceived when he was only 10 and he’d listened to the famous chopin studies of famed virtuoso anton heiller. he had heard webern as well, but not so soon after, and he was deeply influenced by the masters of harmony and counterpoint, bach, mozart and beethoven. liebermann had his first piano lesson at the age of five with the then-famous professor hanslick, who was later to become his mentor.