Lowell Liebermann's Piccolo Concerto is unabashedly romantic. There are soaring string melodies that Mascagni would have been proud to have composed, and angelic piccolo melodies caressed by arpeggios in the piano and harp. Jun 11, 2012  Mix - Concerto pour piccolo de Lowel Liebermann, 2° mouvement YouTube. Lowell Liebermann-Concerto for piccolo and orchestra, op50, 3rd mvt - Duration: 4:59. Lolcow 6,364 views.

This lovely and expressive concerto for the auxiliary instrument of the flute group is a rare addition to the slender list of concertos written for piccolo. 1961 in New York City and educated at the Juilliard School) has written works in all major genres including opera and symphony, and has received a particular degree of success as a composer for flute. His Soliloquy for Unaccompanied Flute and his Sonata for Flute and Piano received enough recordings and performances in the first ten years of their existence that their position as repertory items seems assured, while the Flute Concerto, Op. Canon 60d Firmware 1.1.0. 39, is also receiving multiple recordings and performances. Canon Pachelbel Organ Pdf. This concerto came about because Jan Gippo, piccolo player of the Saint Louis Symphony Orchestra, requested it of Liebermann after that orchestra premiered the Flute Concerto.

This piccolo concerto is somewhat long for a wind concerto. Since everyone knows the stereotypical bright sound of the piccolo as used in orchestras, Liebermann decided to stress its lyrical abilities and its unexpectedly tender and vulnerable-sounding lowest octave during the first two movements and reserve most of the brilliant writing for the finale. Liebermann's music often has a gentle and romantic flavor that makes much use of unexpectedly shifting harmonies. This is a predominant trait of the first two of the three movements.

The mood of the work evokes a kind of lonely melody like wrote for film love scenes plus the warmer, sad music of the later film composer. Caroline Stone Visceral Obstetric Osteopathy Pdf Printer. It is this haunting and mysterious mood that opens the concerto at an Andante comodo tempo, though there is contrasting faster music also.

The Adagio movement is slightly longer than the opening movement and is therefore the longest in the concerto. It is the expressive heart of the work, based on a twelve-tone row that has tonal implications and is itself built of motivic elements from the prior movement. This tone-row is the basis for a series of variations. The final movement is only about half as long. Marked Presto, it is the expected bravura romp, which brings in quotations from 's 40th Symphony and 's Eroica at key moments. As Liebermann points out, piccolos never get to play these pieces, which have no piccolo parts.

(The material quoted from is also homage to, who quoted the same theme in his Second Violin Concerto.) The third quotation, however, is one most piccolo players eventually learn to dread: the flashing piccolo counterpoint from Sousa's Stars and Stripes Forever. The concerto is scored for a full orchestra of winds in pairs (no trombones or tubas), strings, timpani, percussion, piano, and harp. Its first performance was by Jan Gippo at the National Flute Association convention in New York on August 18, 1996, with conducting the New Jersey Symphony Orchestra. Parts/Movements • Andante comodo • Adagio • Presto Appears On. Easyphp 5 3 210.