{"id":460,"date":"2016-01-13T16:16:08","date_gmt":"2016-01-13T22:16:08","guid":{"rendered":"http:\/\/www.jameselkins.com\/pianofiles\/?page_id=460"},"modified":"2016-01-13T16:17:01","modified_gmt":"2016-01-13T22:17:01","slug":"lowell-liebermann-gargoyles-1989","status":"publish","type":"page","link":"http:\/\/www.jameselkins.com\/pianofiles\/lowell-liebermann-gargoyles-1989\/","title":{"rendered":"Lowell Liebermann, \u201cGargoyles\u201d (1989)"},"content":{"rendered":"<p>This is one of Liebermann&#8217;s most often performed pieces, and it&#8217;s no wonder: of the four, three are brilliant virtuoso show pieces. But so traditional! No. 3 could have been written by Debussy. No. 4 owes nearly everything to Liszt. No. 1 is the kind of demonic march that Bart\u00f3k made famous, but Liszt and Reger pioneered.<\/p>\n<p>Liebermann&#8217;s music is showy and effective but diffuse: even when the energy level is so high, the pieces lose momentum because of lack of concision or an absence of sharp edges. Compare the first piece here to Bart\u00f3k&#8217;s Op. 14 or the <em>Allegro Barbaro<\/em>, or some of Liszt&#8217;s late Csardas pieces &#8212; or to Sebastian Currier&#8217;s much more energetic <em>Scarlatti Cadences<\/em>. Given that the fourth piece, especially, requires technique on the order of the <em>Transcendental Etudes<\/em>, are they really the best choice for hours of practicing?<\/p>\n","protected":false},"excerpt":{"rendered":"<p>This is one of Liebermann&#8217;s most often performed pieces, and it&#8217;s no wonder: of the four, three are brilliant virtuoso &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\/460"}],"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=460"}],"version-history":[{"count":2,"href":"http:\/\/www.jameselkins.com\/pianofiles\/wp-json\/wp\/v2\/pages\/460\/revisions"}],"predecessor-version":[{"id":462,"href":"http:\/\/www.jameselkins.com\/pianofiles\/wp-json\/wp\/v2\/pages\/460\/revisions\/462"}],"wp:attachment":[{"href":"http:\/\/www.jameselkins.com\/pianofiles\/wp-json\/wp\/v2\/media?parent=460"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}