More music by Lowell Liebermann
Lowell Liebermann
Sonata for Flute and Piano
Sonata for Flute and Piano
Lowell Liebermann
Gargoyles, Op. 29
Gargoyles, Op. 29
Lowell Liebermann
from Four Etudes on Brahms Songs
from Four Etudes on Brahms Songs
Performances by same musician(s)
Johannes Brahms
Capriccio in d minor, Op. 116, No. 1, from Seven Fantasies
Capriccio in d minor, Op. 116, No. 1, from Seven Fantasies
Johannes Brahms
Intermezzo in a minor, Op. 116, No. 2, from Seven Fantasies
Intermezzo in a minor, Op. 116, No. 2, from Seven Fantasies
Johannes Brahms
Capriccio in g minor, Op. 116, No. 3, from Seven Fantasies
Capriccio in g minor, Op. 116, No. 3, from Seven Fantasies
Johannes Brahms
Intermezzo in E Major, Op. 116, No. 4, from Seven Fantasies
Intermezzo in E Major, Op. 116, No. 4, from Seven Fantasies
Johannes Brahms
Intermezzo in e minor, Op. 116, No. 5, from Seven Fantasies
Intermezzo in e minor, Op. 116, No. 5, from Seven Fantasies
Johannes Brahms
Intermezzo in E Major, Op. 116, No. 6, from Seven Fantasies
Intermezzo in E Major, Op. 116, No. 6, from Seven Fantasies
Johannes Brahms
Capriccio in d minor, Op 116, No. 7, from Seven Fantasies
Capriccio in d minor, Op 116, No. 7, from Seven Fantasies

Classical Music | Piano Music
Lowell Liebermann
Gargoyles, Op. 29 Play
Recorded on 01/02/2007, uploaded on 01/20/2009
Musician's or Publisher's Notes
Gargoyles, Op. 29 Lowell Liebermann
Written in 1989, Gargoyles is a four-movement, twelve-minute work that champions atmosphere and color throughout. Following an energy-charged opening movement, the two interior movements underscore ideas of stasis and impressionism respectively before yielding to a surge of rhythmic and dynamic energy that reaches a resounding climax in the final movement. Composer Lowell Liebermann is economical in his use of motivic material, often building and developing larger structures from a short series of pitches or intervals. For example, the opening three note motive: A - G-sharp - F natural appears as prominent melodic material before being developed into a broader and supporting accompanimental gesture. Christopher Atzinger
Courtesy of International Music Foundation.