{"id":456,"date":"2016-01-13T16:13:31","date_gmt":"2016-01-13T22:13:31","guid":{"rendered":"http:\/\/www.jameselkins.com\/pianofiles\/?page_id=456"},"modified":"2016-01-13T16:15:09","modified_gmt":"2016-01-13T22:15:09","slug":"lowell-liebermann-piano-sonata-no-2-sonata-notturna-1983-published-1993","status":"publish","type":"page","link":"http:\/\/www.jameselkins.com\/pianofiles\/lowell-liebermann-piano-sonata-no-2-sonata-notturna-1983-published-1993\/","title":{"rendered":"Lowell Liebermann, Piano Sonata no. 2 (Sonata Notturna) (1983, published 1993)"},"content":{"rendered":"<p class=\"p1\">Traditional, like most of Liebermann\u2019s work. It owes parts and moods to Field, Chopin, Liszt, Faur\u00e9, Debussy, and Alkan, but it owes its most effective passages to Messiaen (measure 24 and parallel passages, in which triplet sixteenth-note figures in octaves frame quieter passages) and older composers like Scarlatti and even Frescobaldi (measure 40 and parallel passages, which are simple canon-style counterpoints in unadorned quarter and half notes).<\/p>\n<p class=\"p1\"><span class=\"s1\">The piece is a Liszt-style sonata in that it\u2019s a continuous movement, with outbreaks of scherzo-style movements. It\u2019s also a quasi-rondo form, because the initial nocturne theme returns in successively more intricate forms.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">The final appearance requires difficult counting: fifteen against six\u00a0 (measure 113). Other than that it\u2019s easy to play for intermediate pianists.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Traditional, like most of Liebermann\u2019s work. It owes parts and moods to Field, Chopin, Liszt, Faur\u00e9, Debussy, and Alkan, but &hellip;<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"http:\/\/www.jameselkins.com\/pianofiles\/wp-json\/wp\/v2\/pages\/456"}],"collection":[{"href":"http:\/\/www.jameselkins.com\/pianofiles\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/www.jameselkins.com\/pianofiles\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/www.jameselkins.com\/pianofiles\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.jameselkins.com\/pianofiles\/wp-json\/wp\/v2\/comments?post=456"}],"version-history":[{"count":2,"href":"http:\/\/www.jameselkins.com\/pianofiles\/wp-json\/wp\/v2\/pages\/456\/revisions"}],"predecessor-version":[{"id":458,"href":"http:\/\/www.jameselkins.com\/pianofiles\/wp-json\/wp\/v2\/pages\/456\/revisions\/458"}],"wp:attachment":[{"href":"http:\/\/www.jameselkins.com\/pianofiles\/wp-json\/wp\/v2\/media?parent=456"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}