Variations on a Theme of Schubert, Op. 100 for Piano.

* Variations on a Theme of Schubert, Op. 100 for Piano, by Lowell Liebermann. Theodore Presser Company, 2011. www.presser.com; 20 pp., $14.95.

During his prolific career, American composer Lowell Liebermann has provided an impressive array of captivating repertoire for solo piano, often preferring to work with traditional genres and forms such as the nocturne, impromptu, sonata and concerto. Variations on a Theme of Schubert, Op. 100 (written in 2007, published in 2011) remains true to form and offers an excellent opportunity for Liebermann to explore his characteristic virtuoso elegance and whimsical compositional voice within a small framework.

The memorable theme is Schubert's famous song, Heidenroslein, a jaunty, yet refined, 16-measure melody that provides fertile ground for variation with its playful intervals, teasing tempo fluctuations and a poignant fermata, which Liebermann uses to great effect, particularly in variation I, II and the finale. The basic phrase structure of the theme is recognizable throughout; however, the harmonic and rhythmic treatment of the theme becomes increasingly ingenious. The Variations depart almost immediately from the thematic texture, opting instead in variation I for a right-hand accompaniment figure comprised of chromatic/pentatonic filigree while the left hand plays melody and accompaniment, the texture being reminiscent of a "nocturne for the left hand."

Liebermann has a remarkable gift for texture, and can cast a haunting and hypnotic spell (the creeping eighth note counterpoint in variation V or the sense of suspension created in variation VII), generate breathless excitement (the parallel sixteenth note runs in variation III marked Presto), or convey an easy-going romp (the bi-tonal stride piano-style of variation VI). He also introduces a minor cantando theme to striking effect in variation IV. But, the Lieblich character of the theme is always maintained in the style and manner of each variation. The finale closes the piece by restating the theme as we first heard it, but with a surprise where you least expect it, and an audience-pleasing final cadence.

The score is clean and well laid out with detailed articulations and tempo indications. As is common with Liebermann's piano music, exclusively published by Theodore Presser, the score provides no measure numbers and, of greater significance, no fingering suggestions. An accomplished pianist himself, the technical demands in the Variations are advanced and somewhat personal. The student would need ample guidance from the teacher in terms of fingerings to help navigate the passagework, the multivoice textures and some unfamiliar hand shapes, as well as to realize the subtleties of phrasing throughout. But the pianist's efforts will be rewarded with a dynamic and varied set of piano variations for the 21st century.--Reviewed by Christopher Hahn, NCTM, Missoula, Montana

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