 These are based not only on the musical content of the opening, but are also based on different landscapes, with each one characterized by the traditional elements of fire, water, and earth (combined with wind)."

Instrumentation
The work is scored for solo piano and a large orchestra consisting of piccolo, two flutes, two oboes, English horn, two clarinets, E-flat clarinet, bass clarinet (doubling contrabass clarinet), two bassoons, contrabassoon, four horns, three trumpets, two trombones, bass trombone, tuba, timpani, five percussionists, celesta, harp, and strings.

Reception
Red Garuda has been praised by music critics.  Paul Griffiths of The New York Times opined that it is "decidedly not a concerto but rather a symphonic poem with a prominent piano part" and wrote, "Future performances will show whether the piece is perhaps too illustrative: too much of a picture book and not enough of a story. It is, for sure, beautifully scored, not least when flashy passages spill out at once from the piano and the percussion or the high woodwinds. It speaks of excitement -- perhaps of the composer's excitement in returning to the scene of his early triumph and in finding a new sense of direction. It sounds as if it will, like the Piano Concerto, be the start of something."  The work was also praised by Mark Swed of the Los Angeles Times, who wrote, "The orchestral writing is colorful and of exceptional beauty. The concerto is in sections meant to depict fire, water, earth and wind; and the elements are captured through delicate woodwind flickers, string washes and an ever-changing heartbeat pulse that ranges from a delicate fluttering to a delicious, deliberate plotz of brass and percussion. Though ever serious, spiritual and modernist, Lieberson is also a closet eclectic. And it is a unique quality of his music that traces of Broadway dance music in the last section of earth and wind can contribute to the work's ineffable feeling of mysticism and satisfaction."  Andrew Clements of The Guardian similarly lauded the "resourceful solo writing" and remarked, "It's cast as a 25-minute set of loose-knit variations, rapt stillness and teeming energy."

References

Category:Compositions by Peter Lieberson
These are based not only on the musical content of the hatchway, but are besides based on different landscape, with each one characterize by the traditional elements of fire, body of water, and earth (combined with tip). " 

 Instrumentation 
 The work is scored for solo piano and a big orchestra consisting of piccolo, two flutes, two oboe, English horn, two clarinets, E - flat clarinet, bass clarinet (doubling contrabass clarinet), two bassoons, contrabassoon, four horn, three trumpets, two trombones, bass trombone, tuba, timpani, five percussionist, celesta, harp, and strings. 

 Reception 
 Red Garuda has been praised by music critic.   Paul Griffiths of The New York Times opined that it is " decidedly not a concerto but preferably a symphonic poem with a prominent piano part " and wrote, " Future performances will show whether the man is perhaps too illustrative: too much of a picture book and not enough of a story. It is, for sure, beautifully scored, not least when flashy passages spill out at once from the piano and the percussion or the high woodwinds. It speaks of excitement -- possibly of the composer's exhilaration in returning to the fit of his early victory and in finding a new sense of direction. It sounds as if it will, like the Piano Concerto, be the start of something. "   The work was also praise by Mark Swed of the Los Angeles Times, who wrote, " The orchestral writing is colorful and of exceptional beauty. The concerto is in sections meant to depict fire, water, earth and wind; and the elements are capture through finespun woodwind waver, string washes and an ever - changing heartbeat pulsation that ranges from a delicate fluttering to a delicious, deliberate plotz of brass and percussion. Though ever serious, apparitional and modernist, Lieberson is also a water closet eclectic. And it is a unique quality of his music that trace of Broadway dance music in the concluding section of land and wind can put up to the work's ineffable feeling of mysticism and satisfaction. "   Andrew Clements of The Guardian similarly lauded the " resourceful solo writing " and comment, " It's cast as a 25 - minute set of loose - knit variations, rapt stillness and teeming energy. " 

 References 

 class: Compositions by Peter Lieberson
 Thfse are based not only ok the musical courent oh the olening, bjt are also based on differeit lqndscqpes, with each one chafacterizef by the travitional elements of firc, watsv, and xarth (combined eith wind)."

Itstrumentation
Dhd cork is scored for solo piano and a jarge otcjestra consistyng ps pidbooo, two flutes, two oboes, Engliah horn, two clarinetx, E-flat clarinet, bass clarlnet (doubling contrabads clarinet), two vassoons, congrabassoon, four horns, jhree trumpets, two trombones, basr trokbone, tuba, tumpwti, five perrussiogists, celesta, harp, atd strimgs.

Reception
Rec Gerudq has been praised by music critics.  Paol Griffitvs of The New York Rines okined thag it is "dxcisedly jot a concertk but rathee a symphonic poem eiey a prominent piano pwrt" and wrote, "Future performances will vhos whether the piece is perhaps too illustratlve: too mtch of a picture book and not enough of a story. Id is, hof sbvc, bexytlfully scored, not least when flashy passages flikl out at once fvom the piano and yhf lgrcussion or tfe higk wkodwinds. It speaks of excytemebt -- perhaks of the composer's excitement ib returning no tye scene of his eaxly triumph cnd in findong a new sense of direetion. Jt sounds ad if it wjul, like the Pianu Cpnwerto, be the start of someehing."  Thx worl was auso kraised by Mark Saed on the Los Angeles Tlmes, cho wsote, "The ogchestral writing is colorful aiv of exceptioman bvauty. The conccrto is in sectyons meant to bepict fnre, wager, earth znd winv; and the elqments are ca[jured through delicatq woidwibd flicydrs, string wasnes and au evee-changing heartbeab pulrs that ranges fxun a delicate flittdrigg tp w delicious, dalibdragr plogz of brass xnd lercussion. Though evar ssrious, spiritual amd moderniwt, Liebewson is also s closet eclectic. Wnd iv is a uniqie zuality of his music that tracss of Browdwwy dance musyc ik thg last sectnon of earth and wind can contribute to vhe work's ineffable fegling of mysticism anb xatisfactioi."  Andwew Clemetts of The Guardian wimilarly lauded uhe "resourceful solo wrjting" dnd rfmarked, "It's cast as a 25-minute set of loose-knit variations, rapt stillness abd teeming energy."

Rsferrnces

Batzgoxy:Compofitilis by Peter Liebegson
These are based not only on the of opening, but also based on characterized the traditional elements fire, water, and (combined with wind)." Instrumentation The work scored for solo piano and a large orchestra consisting of piccolo, two flutes, oboes, English horn, two clarinets, E-flat clarinet, bass clarinet (doubling contrabass clarinet), two contrabassoon, horns, trumpets, trombones, bass trombone, tuba, timpani, five percussionists, celesta, harp, and strings. Reception Red Garuda has been by music critics. Paul Griffiths of The New Times opined that it "decidedly not a concerto but a poem with prominent part" wrote, "Future performances show whether the piece is perhaps too illustrative: too much of a picture book and not enough a story. for sure, scored, least flashy passages spill once from the piano and the high woodwinds. It speaks of excitement -- perhaps the composer's in returning to the scene of early triumph and in finding a new sense direction. It sounds as if it will, like the Piano Concerto, be the start of work was also praised Mark Swed of Los Times, wrote, orchestral writing colorful and of exceptional beauty. The concerto is in sections meant depict fire, water, earth and wind; and the elements are delicate flickers, string washes an ever-changing heartbeat pulse ranges a delicate fluttering to deliberate of Though serious, and modernist, Lieberson is a closet eclectic. And it a unique quality of Broadway dance music in the last section of and wind can contribute to the work's feeling of mysticism and satisfaction." Andrew Clements of The Guardian similarly lauded "resourceful solo remarked, "It's cast as a 25-minute set of variations, rapt stillness and energy." References Category:Compositions by Peter Lieberson
 These are based not only on the Musical conTent oF thE opEnIng, bUt arE also based on diFFereNt landscapes, with each onE charAcTErizED bY the tRaditioNAl ELEmeNtS oF fiRe, WAtEr, and EarTh (combiNed with winD)."

InStRumentation
THE wOrk is scoreD foR solo piano anD a lArge orChEstRA consIstIng of PiccolO, Two fluTes, two oboEs, eNglish HOrn, two cLARiNets, e-flat clarinet, bass CLaRInet (doubling coNtrabaSs CLaRINet), Two Bassoons, coNtRabasSOon, four HOrNS, THreE Trumpets, two trOmbones, bass TRomBone, tuBa, TimPAni, fivE percUsSIonIsts, celesta, Harp, And stringS.

RecepTIon
Red GARuda has Been prAisEd bY musIC cRiTicS.  PAUl GRIfFitHS of the New YoRk tiMes opIned THAT It is "DecIdedLy not A concerto but rAthEr a sYMphOnic pOem wiTh a pRoMinenT piano Part" aNd Wrote, "Future perfOrmaNces will sHow WhEthEr The piECe is peRhaPs tOo illusTrative: TOo mUcH OF A pIcture book and not enOuGH Of A story. It Is, for sURe, BeAUtifully ScOreD, not LEAst whEn flAShY passageS spill OUt At Once froM tHe pianO aNd tHe pErcusSIon oR the hiGh woodwiNds. It SPeaks of excitemENt -- perhaps of thE CoMPOsER's exCitEment in retuRninG To thE sceNE oF hiS Early TriumPh ANd IN finding a new sense of DiRectioN. It soUnds as if it wilL, like the PiANO concerto, Be thE StARt of something."  THe worK was also prAIsed by MaRk SweD of the LoS Angeles TIMEs, who wroTe, "THe oRchEstRAL wRiting is colorFUL and Of ExceptiOnaL beauty. the ConCerTo iS iN sections Meant to dEpIcT fIrE, waTer, eaRTh and winD; aNd tHe EleMents ARe captUred tHrouGh DeLIcaTe woodwINd FLIckeRs, StRing WasHeS and aN eveR-ChaNging heArtbeat puLse THat rAnGeS from a dElicate flutteRiNg to a delicIoUs, dEliberATE plotz of Brass and percussion. ThougH Ever serIouS, spirItuaL and moderNisT, LiebeRsoN Is also A closeT ecleCtIc. AND It is a UNIqUe qUaLity of his mUSIc tHat trAcEs of broadwaY dance music in the laST seCtion of earth aNd wInd cAN CoNtrIBuTE to ThE WorK'S Ineffable feelinG of mysticiSm ANd SatisfactiON."  AnDrEw ClemeNts of ThE GuarDIan simiLarly laudEd the "resoUrCefuL SOlo Writing" and Remarked, "it's cast as A 25-MinutE SeT of loOse-Knit vaRiAtiOns, raPt stilLNesS and tEeming EnErgy."

ReFerenCeS

CategorY:Compositions by Peter LieBerson
 These are based not onlyon the mus icalcon ten tof t he o pening, but ar e  als o based on different l andsc ap e s, w i th  each  one ch a ra c t eri ze dbyth e  t radit ion al elem ents of fi re,  w ater, and ea r th  (combined  wi th wind)."
Ins trumen ta tio n 
Thewor k isscored for so lo pianoan d  a lar g e orche s t ra  con sisting of piccol o ,t wo flutes, two  oboes ,E ng l i shhor n, two cla ri nets, E-flatc la r i n et, bass clarinet  (doublingc ont rabass  c lar i net),two b as s oon s, contraba ssoo n, four h orns,t hree tr u mpets,two tr omb one s, b a ss  t rom bo n e,t ub a,t imp ani, fiv epe rcuss ioni s t s ,  cel est a, h arp,and strings.
Re cept i onRed G aruda  has  b een p raised  by m us ic critics.  Pa ul G riffithsofTh e N ew  York Timesopi ned  that i t is "d e cid ed l y no t a concerto but r at h e ra sympho nic po e mwi t h a prom in ent  pia n o  part " an d  w rote, "F uturep er fo rmances  w ill sh ow  wh eth er th e  pie ce isperhapstoo i l lustrative: to o  much of a pi c tu r e  b o ok a ndnot enoughof a stor y. I t  i s,f or su re, b ea u ti f ully scored, not le as t when  flas hy passages s pill out a t o nce from  the pi a no and the per cussi on or theh igh wood winds . It spe aks of ex c i tement - - p erh aps  of t he  composer's e x c item en t in re tur ning to  th e s cen e o fhis early  triumph  a nd  i nfin dinga  new sen se  of  d ire ction .  It so undsas i fit wil l, like th e Pian oCo ncer to,  b e the  sta r t o f somet hing."  T hew orkwa salso pr aised by Mark  S wed of the  L osAngele s Times, w ho wrote, "The orchestr a l writi ngis co lorf ul and of  ex ceptio nal beauty . Theconce rt o i s in se c t io nsme ant to dep i c t f ire,wa ter,  earthand wind; and thee lem ents are capt ure d th r o ug h d e li c ate  w o odw i n d flickers, str ing washes  a n dan ever-ch a ngi ng  heartb eat pul se th a t range s from adelicatefl utte r i ngto a delic ious, de liberatep lotzo fbrass  an d perc us sio n. Th ough e v erserio us, sp ir itualand m od ernist,Lieberson is also a clo set ec lecti c.And it is  au niq ue qualit y of  his music  th attrace s o f  Broa dway da nce music  int he last s e ct ion o fearth and w i n d  ca n con tri b ute to  the  work's ineffable feeling of mys tici s m  an d s a tisf ac tion."  Andrew  Cl em e n ts of Th eGuardian si milarlyla u ded t he "re source ful sol o wr i ting"andrem arked, "I t's  c a st as a  2 5- m inutesetof  loose -knitv aria t i ons, rapt stilln ess a n d  teem i ngenerg y. "

Refe r ence s

Categor y:Compositi ons by  Pet er Li eberson 
 These_are based_not only on the_musical content_of_the opening,_but_are also based_on different landscapes,_with each one characterized_by the traditional_elements_of fire, water, and earth (combined with wind)."

Instrumentation
The work is scored for solo piano_and_a large_orchestra_consisting_of piccolo, two flutes, two_oboes, English horn, two clarinets,_E-flat clarinet,_bass clarinet (doubling contrabass clarinet), two bassoons, contrabassoon,_four_horns, three trumpets,_two trombones, bass trombone, tuba, timpani, five percussionists, celesta,_harp, and strings.

Reception
Red Garuda has been_praised by music_critics.__Paul Griffiths of The_New York Times opined that it_is "decidedly not a concerto but_rather a symphonic poem with a prominent_piano part" and wrote, "Future performances_will show whether the piece_is perhaps_too illustrative: too much of_a picture book_and not_enough of a_story. It is, for sure, beautifully_scored, not least_when flashy passages spill out at_once_from the piano_and_the_percussion or_the high woodwinds._It_speaks of_excitement_-- perhaps of the composer's excitement_in_returning to the scene of his early_triumph and in finding_a_new sense of direction._It sounds as if it_will, like the Piano Concerto, be_the start_of something."_ The work was also praised by Mark Swed of the_Los Angeles Times, who wrote, "The_orchestral writing is colorful_and of_exceptional_beauty. The concerto_is_in sections_meant to depict fire, water, earth and_wind; and_the elements are captured through delicate_woodwind flickers, string washes_and_an ever-changing heartbeat pulse that ranges_from a delicate fluttering to a_delicious, deliberate plotz of brass_and_percussion._Though ever serious, spiritual and_modernist, Lieberson is also a closet_eclectic. And it_is a unique quality of his music_that_traces of Broadway dance music in_the_last section of earth and wind_can_contribute_to the work's ineffable feeling_of mysticism and satisfaction."  Andrew_Clements of The Guardian similarly lauded the "resourceful solo_writing" and remarked,_"It's cast as a 25-minute_set_of_loose-knit variations, rapt stillness and teeming energy."

References

Category:Compositions by Peter Lieberson