LOWELL LIEBERMANN

	Works
	Recordings
	Reviews

Works

Band | Chamber Ensembles and Instrumental Solos | Choral | Keyboard | Opera | Orchestra | Vocal

Band

Concerto for Flute and Wind Band, Op. 39 -- 25'
Available from the Presser Rental Library
Additional Information: Original version for flute and orchestra. Version for flute and wind band orchestrated by Brian Shaw

Available Separately:

Full Score - Study (#415-41137)
Full Score - Large (#415-41137L)

Paean for Wind Band, Op. 49 (1995) -- ca. 13'
Available from the Presser Rental Library
Commission Information: Dr. Gary Garner, for the West Texas A & M University Band
Premiere Information: February 15, 1996; San Antonio, TX; West Texas A & M University Band, Gary Garner, conductor
Additional Information: • Dedicated to the memory of Mariellen Garner.
• Recordings

Variations on a Theme of Schubert, Op. 92 for Wind Band (2005) -- 10'
Available from the Presser Rental Library
Commission Information: Commissioned by the Williamsville Commissioning Consortium
Premiere Information: March 29, 2006 by the Williamsville East, South and North Symphonic Winds, Lowell Liebermann, conductor

Available Separately:

Full Score - Large (#416-41385L)

Chamber Ensembles and Instrumental Solos

Album Leaf, Op. 66 for Cello and Piano (1999)
Available From Faber Music (in a collection: Unbeaten Tracks – 8 Contemporary pieces for Cello and Piano, ISBN 0-571-51976-8)

Chamber Concerto No. 1 for Violin, Piano and String Quartet, Op. 28 (1989) -- 18'
Published: #114-40520
Commission Information: Spoleto Festival Chamber Music Series
Premiere Information: Joshua Bell, violin, Jean-Yves Thibaudet, piano and the Ridge Quartet; Spoleto Festival U.S.A.; May 28, 1989
Additional Information: • Dedicated to Scott Nickrenz. • ASCAP Award, 1990.
• Recordings
• Reviews

Available Separately:

Set of parts (#114-40520P)
Full Score - Large (#114-40520S)

Chamber Concerto No. 2, Op. 98 for Violin and String Quintet (2006) -- 12'
Published: #114-41422
Commission Information: Commissioned by Concertante for Xiao-Dong Wang
Premiere Information: September 11, 2006, Xiao-Dong Wang, violin; members of Concertante; Harrisburg, PA
• Reviews

Available Separately:

Set of parts (#114-41422M)
Full Score (#114-41422S)

Eight Pieces, Op. 59 for Bass Flute, Alto Flute, C Flute or Piccolo Solo (or in alternation at performer’s discretion) (1997) -- 10'
Published: #114-40929
Commission Information: Sarah Baird Fouse
Premiere Information: Sarah Baird Fouse, flute; National Flute Association Convention, Phoenix, AZ; August 14, 1998

Movements:
• 1. Ophelia
• 2. Etude
• 3. Forgotten Waltz
• 4. Etude
• 5. Hongroise
• 6. Cypher
• 7. Fanfares
• 8. March

• Recordings

Fantasy for Solo Bass-Koto, Op. 30 (1990)

Fantasy on a Fugue by J.S. Bach, Op. 27 for Flute, Oboe, Clarinet, Horn, Bassoon and Piano (1989) -- 10'
Published: #114-40519
Commission Information: Hexagon
Premiere Information: Hexagon; Kaufmann Concert Hall, 92nd Street Y, New York, NY; March 21, 1989
• Reviews

Five Pieces from Album for the Young, Op. 79 for Flute and Piano
Published: #114-41142
• Recordings

Air, Op. 106 for flute and organ (2008) -- 10'
Published: #114-41374
Commission Information: Commissioned by The Society for the Promotion of Sacred Music at St. Bernard's Church in Hamburg
Premiere Information: April 23, 2008, St. Bernard's Church, Hamburg, Germany, Hanna Turonek, flute; Vincent De Pol, organ

Night Music, Op. 109 for Flute, Clarinet, and Piano (2009) -- 22'
Published: #114-41375
Commission Information: Commissioned by Louis K. and Susan P. Meisel for the Temin Sisters, Anna Temin Meisel and Claire Temin Bird
Premiere Information: August 16, 2009; Claire Temin Bird, flute; Anna Temin Meisel, clarinet; Lowell Liebermann, piano

Nocturne Fantasy, Op. 69 for Two Guitars, in One Movement (2000) -- 15'
Published: #114-41045
Commission Information: Raritan River Music Festival
Premiere Information: Newman/Oltman Guitar Duo; Bethlehem Presbyterian Church, Pittstown, NJ; May 6, 2000
• Recordings

Quartet for Piano and Strings, Op. 114 (2010) -- 15'
Commission Information: Music from Angel Fire
Premiere Information: Opus One (Anne-Marie McDermott, Ida Kavafian, Steven Tenenbom and Peter Wiley), Music from Angel Fire, at the Angel Fire Community Center, Angel Fire, New Mexico; August 25, 2010
• Reviews

Quintet for Piano and Strings, Op. 34 (1990) -- 30'
Published: #114-40640
Commission Information: New England Presenters, Inc.
Premiere Information: Peter Orth, piano and the Franciscan Quartet; Greenville, SC; February 2, 1991
Additional Information: • Dedicated to Jack Cohan.

Movements:
• 1. Moderato
• 2. Presto
• 3. Molto adagio
• 4. Allegro brutale

• Recordings
• Reviews

Available Separately:

Set of parts (#114-40640P)
Full Score - Large (#114-40640S)

Quintet for Piano, Clarinet and String Trio, Op. 26 (1988) -- 25'
Published: #114-40615
Commission Information: Chelsea Chamber Ensemble
Premiere Information: Chelsea Chamber Ensemble; The Phillipps Collection, Washington, DC; November 13, 1988

Movements:
• 1. Moderato
• 2. Largo
• 3. Allegro

• Recordings

Available Separately:

Set of parts (#114-40615P)
Full Score - Large (#114-40615S)

Soliloquy, Op. 44 for Solo Flute (1993) -- 5'
Published: #114-40732
Commission Information: Katherine Kemler
Premiere Information: Katherine Kemler, flute; Trinity Church, New Orleans, LA; January 30, 1993
Additional Information: • Best Newly Published Flute Work, National Flute Association, 1995.
• Recordings

Sonata for Contrabass and Piano, Op. 24 (1987) -- 25'
Published: #114-40863
Commission Information: Jerome Foundation
Premiere Information: Richard Frederickson, contrabass, Colette Valentine, piano; Corcoran Gallery, Washington, DC; March 18, 1989
Additional Information: • Dedicated to Richard Frederickson.

Movements:
• 1. Commodo
• 2. Adagio
• 3. Presto
• 4. Tempo Primo

Sonata for Flute and Guitar, Op. 25 (1988) -- 15'
Published: #114-40610
Commission Information: Barlow Endowment for Music Composition
Premiere Information: Paula Robison, flute, Eliot Fisk, guitar; St. Paul’s Chapel, New York; March 15, 1989
Additional Information: • Dedicated to Paula Robison and Eliot Fisk.

Movements:
• 1. Adagio commodo
• 2. Presto

• Recordings

Sonata for Flute and Harp, Op. 56 (1996) -- 14'
Published: #114-40899
Commission Information: Sparx Duo
Premiere Information: University of Delaware; February 14, 1997
• Recordings
• Reviews

Sonata for Flute and Piano, Op. 23 (1987) -- 13' 30"
Published: #114-40463
Commission Information: Spoleto Festival Chamber Music Series
Premiere Information: Paula Robison, flute, Jean-Yves Thibaudet, piano; Spoleto Festival, USA; May 20, 1988; Charleston, SC
Additional Information: • Dedicated to Paula Robison. • Best Newly Published Flute Work, National Flute Association, 1989.

Movements:
• 1. Lento
• 2. Presto

• Recordings
• Reviews

Sonata for Viola and Piano, Op. 13 (1984) -- 28'
Published: #114-40468
Premiere Information: Neal Gripp, viola, Daniel Lessner, piano; Town Hall, New York; April 29, 1985
Additional Information: • First Place, Victor Herbert/ASCAP Awards, National Federation of Music Clubs, 1986.

Movements:
• 1. Allegro moderato
• 2. Andante
• 3. Recitativo; Allegro feroce

• Recordings
• Reviews

Sonata for Violin and Piano No. 1, Op. 46 (1994) -- 13'
Published: #114-40767
Commission Information: Henri Gronnier
Premiere Information: Henri Gronnier, violin, Sabine Vatin, piano; Weill Recital Hall, New York, NY; December 1, 1994
• Recordings

Sonata No. 1 for Violoncello and Piano, Op. 3 In one movement (1978) -- 10'
Published: #114-41031
Premiere Information: Linda Kruger, cello, Lowell Liebermann, piano; Pius X Hall, Manhattanville College, NY; October 29, 1978
• Recordings

Sonata No. 2 for Violoncello and Piano, Op. 61 in One Movement (1998) -- 16'
Published: #114-41040
Commission Information: Wigmore Hall
Premiere Information: Steven Isserlis, cello; Stephen Hough, piano, Wigmore Hall, London
Additional Information: • Dedicated to Steven Isserlis.

Sonata No. 3 for Cello and Piano, Op. 90 (2005) -- 16'
Premiere Information: February 22, 2006, Fort Worth Museum of Modern Art, Fort Worth, Texas. Andreas Diaz, cello; Lowell Liebermann, piano
• Reviews

Sonata No. 4 for Cello and Piano, Op. 108 (2008) -- 14'
Published: #114-41423
Commission Information: Commissioned by Martin Feldman for Joel Sandelson
Additional Information: In one movement
• Reviews

String Quartet No. 1, Op. 5 In one movement (1979) -- 15'
Published: #114-40722
• Reviews

Available Separately:

Set of parts (#114-40722P)
Full Score - Large (#114-40722S)

String Quartet No. 2, Op. 60 (1998) -- 35'
2 Vln., Vla., Vcl.
Published: #114-41038
Commission Information: National Federation of Music Clubs in celebration of the 100th anniversary of its founding
Premiere Information: Shanghai Quartet; Congress Hotel, Chicago, IL; August 16, 1998

Movements:
• 1. Moderato
• 2. Allegro isterico
• 3. Andante
• 4. Allegro

Available Separately:

Set of parts (#114-41038P)
Full Score - Large (#114-41038S)

String Quartet No. 3, Op. 102 (2007) -- 15'
Published: #114-41424
Commission Information: Commissioned by the Ying Quartet
Premiere Information: February 16, 2008, Sibley Auditorium, Eastman School of Music, Rochester, NY; The Ying Quartet

Available Separately:

Set of parts (#114-41424M)
Full Score (#114-41424S)

String Quartet No. 4, Op. 103 (2007) -- 25'
2Vln. Vla. Vcl.
Published: #114-41425
Commission Information: Commissioned by the Canandaigua Lake Chamber Music Festival for the Orion Quartet
Premiere Information: 9th February, 2008. Orion Quartet, Canandaigua Lake Chamber Music Festival, Temple B'rith Kodesh, Rochester, NY
1st New York performance: 22nd February, 2008. Orion Quartet, Mannes School of Music.
Additional Information: In one movement
• Reviews

Available Separately:

Set of parts (#114-41425M)
Full Score (#114-41425S)

Trio for Horn, Violin and Piano, Op. 101 (2007) -- 16'
Published: #114-41426
Commission Information: Commissioned by the Blair School of Music at Vanderbilt University for Leslie Norton
Premiere Information: April 14, 2008, Vanderbilt University, Nashville, Tennessee, Leslie Norton horn; Mark Wait, piano
Additional Information: In one movement

Trio for Piano, Violin and Cello, Op. 32 (1990) -- 13'
Published: #114-40616
Commission Information: Susan and Elihu Rose
Premiere Information: Eroica Trio; Cape and Islands Chamber Music Festival, Cape Cod, MA; August 8, 1990
Additional Information: • Dedicated to the Eroica Trio.
• Recordings
• Reviews

Trio No. 1 for Flute, Cello and Piano, Op. 83 (2002) -- 25'
Published: #114-41253
Premiere Information: March 28, 2004; Jeanne Galway, flute; Darrit Atkins, cello; Jonathan Feldman, piano; MTNA National Convention, Kansas City Music Hall, Kansas City, MO
• Recordings
• Reviews

Trio No. 2 for Flute, Cello and Piano, Op. 87 (2004) -- 22'
Published: #114-41255
Premiere Information: August 14, 2004; David Fedele, flute, Matt Herren, cello, Robert Koenig, piano; National Flute Association convention, Governer's Ballroom North, Opryland Hotel, Nashville, TN
• Recordings

Trio No. 2 for Piano, Violin and Cello, Op. 77 (2001) -- 16'
Published: #114-41256
Commission Information: Lied Center for the Performing Arts
Premiere Information: November 4, 2001; Lied Center for the performing Arts; Lawrence, KS; The Perlman/Nikannen/Bailey Trio
Additional Information: Published: #114-41256
• Recordings
• Reviews

Two Pieces for Violin and Viola, Op. 4 (1978) -- 8'
Published: #114-40687
Premiere Information: Earl Hough, violin, David Blinn, viola; Composers Concordance, St. Ignatius Church, New York; October 25, 1986

Movements:
• 1. Andante
• 2. Allegro

• Recordings

Available Separately:

Full Score - Large (#114-40687S)

Choral

Missa Brevis, Op. 15 for SATB Chorus, Tenor and Baritone solos, Organ (1985) -- 15'
Published: #312-41759
Commission Information: Holy Trinity Roman Catholic Church, New York
Premiere Information: Holy Trinity Roman Catholic Church Choir, David Friddle, music director; Holy Trinity Church, New York, NY; March 29, 1986

Movements:
• 1. Kyrie
• 2. Gloria
• 3. Sanctus
• 4. Benedictus
• 5. Agnus Dei

Symphony No. 2, Op. 67 In one movement (1999) -- 40'
SATB Chorus; 3-3-3-3; 4-3-3-1; Timp., Hp., Pno., Cel., Org., 4Perc., Str.; opt. brass: 3Tpt., 3Tbn.
Available from the Presser Rental Library
Commission Information: Ford Lacy and Cece Smith
Premiere Information: Dallas Symphony Orchestra and Chorus, Andrew Litton, conductor; Meyerson Hall, Dallas, TX; February, 2000
Additional Information: • Text adapted by the composer from the poems of Walt Whitman.
• Recordings
• Reviews

Available Separately:

Piano/Vocal Score (#412-41084)
Full Score - Large (#416-41270)

Three Elizabethan Songs, Op. 63 for SATB, a cappella (1999) -- 6'
Published: #312-41777
Commission Information: Ithaca College Choral Series
Premiere Information: Ithaca College Choral Composition Festival, Ithaca, NY; November 13, 1999

Two Choral Elegies, Op. 2 for SATB, a cappella (1977) -- 6'
Published: #312-41734
Premiere Information: Stony Brook Chamber Singers, Marguerite Brooks and Kathryn Lee, conductors; SUNY Stony Brook, NY; April 29, 1971
Additional Information: • In Memoriam Ada Segal. • Fred Waring Choral Award, National Federation of Music Clubs, 1978.

Keyboard

Album for the Young, Op. 43 for Piano Solo (1993) -- 20'
Published: #410-41300
Commission Information: Northern Arts (Great Britain)
Premiere Information: Andrew Wilde, piano; Manchester, England; January 28, 1995
Additional Information: • Dedicated to Jennifer and Matthew Wilde.
• Recordings
• Reviews

Daydream and Nightmare, Op. 94 for two pianos, eight hands (2005) -- 5'30"
Published: #410-41339
Commission Information: Commissioned by the Rivers School of Music
Premiere Information: April 2, 2006, by students of the Rivers School of Music, Weston, MA

De Profundis, Op. 16 for Organ, in one movement (1985) -- 8'
Published: #113-40035
Commission Information: David Friddle
Premiere Information: David Friddle, organ; St. Michael’s Church, New York, NY; January 16, 1986

Evening Prayer and Dream from ‘Hansel und Gretel,’ Op. 37 for Piano Solo (1992) -- 8'
Published: #110-40702
Premiere Information: Lowell Liebermann, piano; Yaddo Colony, Saratoga Springs, NY; July 9, 1992
Additional Information: • Transcribed from the opera by Humperdinck.

Four Apparitions, Op. 17 for Piano Solo (1987) -- 15'
Published: #410-41292
Premiere Information: David Korevaar; Merkin Concert Hall, New York, NY; October 15, 1986
Additional Information: • Dedicated to David Korevaar.

Movements:
• 1. Inquieto, teneramente e fragile; un poco delirando
• 2. Nobile
• 3. Affretando misterioso
• 4. Supplichevole

• Recordings

Four Etudes on Brahms Songs, Op. 88 for piano solo (2004)
Published: #110-41786

Gargoyles, Op. 29 for Piano Solo (1989) -- 12'
Published: #410-41289
Commission Information: Tcherepnin Society
Premiere Information: Eric Himy, piano; Alice Tully Hall, New York; October 14, 1989
Additional Information: • Dedicated to Eric Himy.

Movements:
• 1. Presto
• 2. Adagio semplice, ma con molto rubato
• 3. Allegro moderato
• 4. Presto feroce

• Recordings
• Reviews

Music for Carillon, Op. 107 (2008) -- 10'
Published #110-41776
Commission Information: Commissioned by the Guild of Carilloneurs in North America
Premiere Information: June 10, 2008, The Guild of Carilloneurs in North America Convention, Berkeley, California

Nocturne No. 1, Op. 20 for Piano Solo (1986) -- 7'
Published: #110-40679
Commission Information: La Gesse Foundation
Premiere Information: David Syme, piano; Kennedy Center for the Performing Arts, Washington, DC; November 21, 1986
Additional Information: • Dedicated to David Syme.
• Recordings

Nocturne No. 2, Op. 31 for Piano Solo (1990) -- 7'
Published: #110-40715
Commission Information: Alumni of Young Concert Artists, Inc.
Premiere Information: Hung-Kuan Chen; Alice Tully Hall, New York; March 28, 1990
Additional Information: • In memory of Steven De Groote.
• Recordings
• Reviews

Nocturne No. 3, Op. 35 for Piano Solo (1991) -- 7'
Published: #110-40700
Commission Information: For the San Antonio International Keyboard Competition by Mr. and Mrs. Arthur Gurwitz, in loving memory of their son, Andrew Russel Gurwitz.
Premiere Information: Richard Dowling; Ruth Taylor Concert Hall, Trinity University, San Antonio, TX; October 19, 1991
• Recordings
• Reviews

Nocturne No. 4, Op. 38 for Piano Solo (1992) -- 7'
Published: #110-40703
Commission Information: North West Arts Board (Great Britain)
Premiere Information: Andrew Wilde, piano; Queen Elizabeth Hall, London; November 22, 1992
• Recordings

Nocturne No. 5, Op. 55 for Piano Solo (1996) -- 6' 30"
Published: #110-40724
Commission Information: Adele Marcus Foundation in memory of Adele Marcus
Premiere Information: Norman Krieger, piano; Carnegie Hall, New York, NY; February 22, 1997
• Recordings
• Reviews

Nocturne No. 6, Op. 62 for Piano Solo (1998) -- 8'
Published: #110-40736
Commission Information: Richard Goula for pianist James Giles
Premiere Information: James Giles, piano; Alice Tully Hall, New York, NY; November 1998
Additional Information: • Dedicated to the memory of Lynn Hantell. • See also orchestral transcription: Nocturne for Orchestra, Op. 84
• Recordings

Nocturne No. 7, Op. 65 for Piano Solo (1999)
Published: #110-40738
Commission Information: Welsh Arts Council
Premiere Information: Ewan Llewellan-Jones, piano
• Recordings
• Reviews

Nocturne No. 8, Op. 85 for Piano Solo (2003) -- 8'
Published: #110-40761)
Additional Information: Published: #110-40761
• Reviews

Nocturne No. 9, Op. 97 for piano solo (2006) -- 7'
Commission Information: Commissioned by Louis Meisel for Nadejda Vlaeva
Premiere Information: August 9, 2006, Nadejda Vlaeva, piano, Husum Music Festival, Husum, Germany

Nocturne No. 10, Op. 99 for piano solo (2007) -- 6'
Premiere Information: February 10, 2007 at the memorial concert for Gian-Carlo Menotti; Lowell Liebermann, piano; Salle Garnier, Monte-Carlo
Additional Information: In memory of Gian Carlo Menotti

Nocturne No. 11, Op. 112 for piano solo -- 6'
Published: #110-41787
• Reviews

Piano Sonata No. 1, Op. 1 for Piano Solo (1977) -- 12'
Published: #410-41305
Premiere Information: Lowell Liebermann; Carnegie Recital Hall, New York; May 15, 1977
Additional Information: • Dedicated to Stephen Hough. • Outstanding Composition Award, Yamaha Music Foundation, Tokyo, Japan, 1982. • First Prize, National Composition Contest, Music Teachers National Association, 1978.

Movements:
• 1. Adagio
• 2. Presto
• 3. Lento
• 4. Presto strepitoso

• Recordings
• Reviews

Piano Sonata No. 2 ("Sonata Notturna") Op. 10 for Piano Solo, in one movement (1983) -- 15'
Published: #410-41293
Premiere Information: Stephen Hough, piano; Wavendon Music Festival, England; July 7, 1983
Additional Information: • Dedicated to Stephen Hough. • Honorable Mention, National Composition Contest, Music Teachers National Association, 1985.
• Recordings
• Reviews

Piano Sonata No. 3, Op. 82
Published: #410-41337
Premiere Information: April 20, 2003; James Giles, piano; The Sibelius Academy, Helsinki, Finland
• Reviews

Three Impromptus, Op. 68 for Piano Solo (2000) -- 10'
Published: #110-40740
Commission Information: Written to commemorate the 100th Anniversary of Yaddo.
Premiere Information: Stephen Hough, piano, Alice Tully Hall, New York, NY; May 4, 2000
Additional Information: • Winner of the Van Ciburn 11th International Piano Competition Inaugural Composers Invitational 2001.
• Recordings
• Reviews

Three Lullabies, Op. 76 for Two Pianos (2001) -- 15'
Published: #110-40759)
Commission Information: Murray Dranoff Two Piano Competition
Premiere Information: December 22, 2001; Dranoff Two Piano Competition; Miami, FL

Four Etudes on Songs of Robert Franz, Op. 91 for piano solo (2005) -- 10'
Published: #110-41788

Variations On A Theme By Anton Bruckner, Op. 19 for Piano Solo (1986) -- 13' 30"
Published: #410-41275
Premiere Information: Erika Nickrenz; Spoleto Festival U.S.A.; June 3, 1987
Additional Information: • Dedicated to Erika Nickrenz.

Movements:
• 1. Tema - Adagio
• 2. Scherzando e leggiero
• 3. Presto volante
• 4. Mesto
• 5. Adagio
• 6. Moderato
• 7. Presto feroce
• 8. Lento rubato
• 9. Adagio
• 10. Adagissimo

• Recordings
• Reviews

Variations on a Theme By Mozart, Op. 42 for Two Pianos (1993) -- 15'
Published: #410-41322
Commission Information: Victor D. Wortmann and his wife Susan Wortmann, for the Bradshaw and Buono Duo
Premiere Information: Bradshaw and Buono Duo; Weill Recital Hall, New York, NY; February 27, 1996
Additional Information: • See also transcription for Orchestra.
• Reviews

Variations on a Theme of Schubert, Op. 100 for piano solo (2007) -- 10'
Published: #110-41789
Commission Information: Commissioned by Louis K. Meisel for Nadajda Vlaeva

Variations on America by Charles Ives transcription for piano solo, Op. 96 (2006) -- 8'
Published: #110-41768

Opera

Miss Lonelyhearts, Op. 93 Opera in Two Acts. Libretto by J.D. McClatchy, after the story by Nathanael West. -- Full Evening
2(d.Picc.) 2(d.E.H.) 2(d.B.Cl.) 2(d.Cbsn.) – 2 2 3 0; Timp. 5Perc. Hp. Kbd.(1 Plyr.: Pno., Toy Pno., Cel. Amplified Honky-Tonk Pno.) Str.
Commission Information: Commissioned by the Juilliard School for its centennial celebration
Premiere Information: 26th, 28th, 30th April, 2006. Juilliard Opera Center, conducted by Andreas Delfs, directed by Ken Cazan. Juilliard School, New York, NY.
Additional Information: Published: Piano/Vocal Score: 411-41110
• Reviews

The Picture of Dorian Gray, Op. 45 Opera in Two Acts (1995) -- 2hrs., 15'
2 Sop., 2 Ten., 3 Bar., 1 Bass; 3(Picc.)-3(E.H.)-3(B.Cl.)-3(Cbsn.); 4-3-3-0; Timp., Perc., Hp., Cel., Str.
Available from the Presser Rental Library
Commission Information: L’Opera de Monte-Carlo
Premiere Information: L’Opera de Monte-Carlo, John Cox, director, Orchestre Philharmonique de Monte-Carlo, Steuart Bedford, conductor; May 8, 1996
Additional Information: • Libretto by the composer after Wilde. • Dedicated to H.S.H. Princess Caroline of Monaco.
• Reviews

Available Separately:

Piano/Vocal Score (#411-41101)
Libretto (#417-41032)

The Picture of Dorian Gray, Op. 45 Opera in Two Acts (1995) -- 2hrs., 15'
Reduced Orchestra version: 2 Sop., 2 Ten., 3 Bar., 1 Bass; 2(Picc.) 2 2(B.Cl.) 2 - 2 2 1 0; Timp. Perc. Hp. Kbd, Str.
Available from the Presser Rental Library

Orchestra

Concertino for Cello and Chamber Orchestra, Op. 8 (1982)
Solo Cello; 2 2 2 2 - 0 0 0 0; Cel. Hp. Str.
Available from the Presser Rental Library

Concerto for Clarinet and Orchestra, Op. 110 (2009) -- 32'
Solo Clarinet; 3(Picc.) 2 0 2 – 2 2 2 1; Timp. 2Perc. Hp. Pno.(d.Cel.) Str.
Available from the Presser Rental Library
Commission Information: Dayton Philharmonic Orchestra, Buffet Crampon USA, Vandoren Paris, Las Cruces Symphony Orchestra, Evansville Philharmonic Orchestra, Bozeman Symphony Orchestra, Hanson Institute for American Music at the Eastman School of Music at the University of Rochester, The Chappaqua Orchestra, Erie Philharmonic Orchestra, North State Symphony, River Concert Series at St. Mary’s College of Maryland and The Chesapeake Orchestra, Roanoke Symphony Orchestra, University of Massachusetts at Amherst, and The Juneau Symphony
Premiere Information: 5th, 6th, 7th November, 2009. Jon Manasse, Clarinet, Dayton Philharmonic, conducted by Neal Gittleman, Schuster Center, Dayton, Ohio.
• Reviews

Movements:
• I. Andante – Presto – Andante
• II. Larghissimo
• III. Allegro

Available Separately:

Piano Reduction (#114-41392)
Full Score - Study (#416-41376)
Full Score - Large (#416-41376L)

Concerto for Flute and Orchestra, Op. 39 (1992) -- 25'
Fl. solo; 2-2-2-2; 2-2-0-0; Pno., Hp., Perc., Timp., Str.
Available from the Presser Rental Library
Commission Information: James Galway
Premiere Information: Saint Louis Symphony, Leonard Slatkin, conductor, James Galway, flute; Powell Hall, St. Louis, MO; November 6, 1992
Additional Information: • Dedicated to James Galway. • Best Newly Published Flute Work, National Flute Society, 1994.
• Recordings
• Reviews

Available Separately:

Piano Reduction (#114-40678)
Full Score - Study (#416-41186)
Full Score - Large (#416-41186L)

Concerto for Flute, Harp, and Orchestra, Op. 48 (1995) -- 20'
Fl. & Hp. solo; 0-2-0-0; 2-0-0-0; Timp., Vibr., Marim., Cel./Pno., Str.
Available from the Presser Rental Library
Commission Information: Hyun Sun Na, the Florida Philharmonic, the Minnesota Orchestra, the Cincinnati Symphony and the Dallas Symphony
Premiere Information: Minnesota Orchestra, Eiji Oue, conductor, James Galway, flute, Kathy Kienzel, harp; November 1, 1995
Additional Information: Dedicated to James Galway.
• Recordings
• Reviews

Available Separately:

Piano Reduction (#114-40843)
Full Score - Large (#416-41187)

Concerto for Orchestra, Op. 81 (2002) -- 30'
3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3 1; Timp. Perc. Hp. Pno. Cel. Str.
Available from the Presser Rental Library
Commission Information: Toledo Symphony, through the Edward H. Schmidt Musical Arts Fund
Premiere Information: September 21, 2002; Toledo Symphony, Grant Llewellyn, conductor; Museum of Art Peristyle, Toledo, OH

Movements:
• I. Vivace
• II. Adagio
• III. Allegro

Available Separately:

Full Score - Large (#416-41381L)

Concerto for Piccolo and Orchestra, Op. 50 (1996) -- 20'
Picc. solo; 2-2-2-2; 2-2-0-0; Timp., Hp., Cel., Perc., Str.
Available from the Presser Rental Library
Commission Information: National Flute Association
Premiere Information: New Jersey Symphony, Glenn Cortese, conductor, Jan Gippo, piccolo; August 18, 1996
Additional Information: • Dedicated to Jan Gippo.
• Recordings

Available Separately:

Piano Reduction (#114-40854)
Full Score - Study (#416-41174)
Full Score - Large (#416-41174L)

Concerto for Trumpet and Orchestra, Op. 64 (1999) -- 25'
Tpt. solo; 3-3-3-3; 4-2-3-0; Timp., Hp., Pno./Cel., 3Perc., Str.
Available from the Presser Rental Library
Commission Information: The estate of Helen Treutle in memory of Edward Treutle
Premiere Information: New York Philharmonic, Kurt Masur, conductor, Philip Smith, trumpet; May 25, 2000

Movements:
• 1. Comodo
• 2. Molto adagio
• 3. Tempo di marcia

• Reviews

Available Separately:

Piano Reduction (#114-41071)

Concerto for Violin and Orchestra, Op. 74 (2001) -- 25'
Available from the Presser Rental Library
Commission Information: Saratoga Performing Arts Center
Premiere Information: Philadelphia Orchestra, Charles Dutoit, conductor, Chantal Juillet, violin; Saratoga Performing Arts Center; August 16, 2001
Additional Information: • Dedicated to Chantal Juillet.
• Reviews

Available Separately:

Piano Reduction (#114-41173)
Full Score - Large (#416-41380)

Concerto No. 1 for Piano and Orchestra, Op. 12 (1983) -- 20'
Pno. solo; 3-3-3-3; 4-3-3-1; Timp., Perc., Str.
Available from the Presser Rental Library
Premiere Information: Lake Forest Symphony, Paul McRae, conductor, Stephen Hough, piano; October 28, 1988, Lake Forest, IL
Additional Information: • Dedicated to Kaikosru Shapurji Sorabji.

Movements:
• 1. Allegro moderato
• 2. Larghissimo
• 3. Allegro con fuoco

• Recordings
• Reviews

Available Separately:

Piano Reduction (#410-41286)

Concerto No. 2 for Piano and Orchestra, Op. 36 (1992) -- 30'
Pno. solo; 3-2-3-3; 4-3-3-1; Timp., 3Perc., Hp., Cel., Str.
Available from the Presser Rental Library
Commission Information: Steinway Foundation
Premiere Information: National Symphony, Mstislav Rostropovich, conductor, Stephen Hough, piano; Kennedy Center for the Performing Arts, Washington, DC; June 11, 1992
Additional Information: • Dedicated to Stephen Hough.

Movements:
• 1. Allegro Moderato
• 2. Presto
• 3. Adagio
• 4. Allegro

• Recordings
• Reviews

Available Separately:

Piano Reduction (#410-41294)
Full Score - Study (#416-41183)
Full Score - Large (#416-41183L)

Concerto No. 3 for Piano, Op.95 -- 34'
Solo Piano; 2(Picc.) 2 2 2(Cbsn.) - 2 2 3 0; Timp. 4Perc. Hp. Str.
Available from the Presser Rental Library
Commission Information: Commissioned by a Consortium of 18 orchestras.
Premiere Information: 12-14 May, 2006. Jeffrey Biegel, Piano, Milwaukee Symphony, conducted by Andreas Delfs, Milwaukee (WI).
Additional Information: Percussion requirements: Snare Drum, Cymbals, Slapstick, Tam-tam, Suspended Cymbal, Triangle, Glockenspiel, Bass Drum, Vibraphone, Marimba, Tubular Bells, Xylophone, Ratchet, Flexatone, Tenor Drum, Woodblock
• Reviews

Available Separately:

Piano Reduction (#410-41338)
Full Score - Large (#416-41362L)

Dorian Gray: A Symphonic Portrait, Op. 70 (2000) -- 25'
Available from the Presser Rental Library
Commission Information: Dallas Symphony
Premiere Information: Dallas Symphony Orchestra, Andrew Litton, conductor; Morton H. Meyerson Symphony Center, Dallas, TX; November 16, 2000
Additional Information: • Suite from the opera: The Picture of Dorian Gray, Op. 45.
• Reviews

Available Separately:

Full Score - Study (#416-41383)
Full Score - Large (#416-41383L)

Kontrapunktus, Op. 52 for Five Japanese Drums and Orchestra (1996) -- 15'
5 Daiko soloists; 3(Picc.)-3(E.H.)-3(B.Cl.)-3(Cbsn.); 4-3-3-1; Timp., 4Perc., Str.
Available from the Presser Rental Library
Commission Information: Kalamazoo Symphony in honor of their 75th anniversary
Premiere Information: Members of the Kodo Ensemble and the Kalamazoo Symphony, Yoshimi Takeda, conductor; February 22, 1977
• Reviews

Loss of Breath, Op. 58 for Orchestra, in One Movement (1997) -- 15'
3 3 3 3 - 4 3 3 1; Timp. 4Perc. Hp. Pno. Cel. Str.
Available from the Presser Rental Library
Commission Information: Commissioned by the Long Beach Symphony in a consortium with the Wichita Symphony (Kansas) and the Akron Symphony (Ohio), with generous funding from the John S. and James L. Knight Foundation, the Geraldine C. and Emory M. Ford Foundation, and the NEA.
Premiere Information: Long Beach Symphony, JoAnn Falletta, conductor; Long Beach, CA; January 17, 1998
Additional Information: • Dedicated to JoAnn Falletta.

Nocturne for Orchestra, Op. 84 (2002) -- 10'
Additional Information: • Orchestral version of Nocturne No. 6 for Piano.

Available Separately:

Full Score - Study (#416-41379)
Full Score - Large (416-41379L)

Pegasus, Op. 71 for Narrator and Orchestra (2000) -- 18'
Narr.; 3(Picc.)-2-2-3(Cbsn.); 4-3-3-1; Timp., 4Perc.(incl. Whoopee Cushions), Hp., Cel., Org., opt. Theremin, Str.
Available from the Presser Rental Library
Commission Information: Dallas Symphony Orchestra
Premiere Information: Dallas Symphony Orchestra, Ron Spiegelman, conductor; Morton H. Meyerson Symphony Center, Dallas, TX; February 9, 2001

Available Separately:

Full Score - Study (#416-41279)

Revelry for Orchestra, Op. 47 (1995) -- 8'
3-2-2-2; 4-3-3-1; Timp., 3Perc., Str.
Available from the Presser Rental Library
Commission Information: Susan and Elihu Rose for the 70th Anniversary of the Westchester Symphony
Premiere Information: Westchester Symphony, Anthony Aibel, conductor; SUNY Purchase; April 29, 1995
• Reviews

Available Separately:

Full Score - Study (#416-41169)
Full Score - Large (#416-41169L)

Rhapsody on a Theme of Paganini, Op. 72 for Piano and Orchestra (2001) -- 20'
Available from the Presser Rental Library
Commission Information: Board of the Indianapolis Symphony in honor of Raymond Leppard’s 10 years as music director of the Indianapolis Symphony
Premiere Information: Indianapolis Symphony, Raymond Leppard, conductor, Stephen Hough, piano; May 23, 2001
• Reviews

Available Separately:

Piano Reduction (#410-41335)

Six Songs on Poems of Nelly Sachs, Op. 18 for Soprano and Orchestra (1986) -- 25'
Sop. Solo; 2-2-2-2; 2-2-0-0; Hp., Pno./Cel., Timp., Perc., Str.
Available from the Presser Rental Library
Premiere Information: Juilliard Symphony, Lowell Liebermann, conductor, Korliss Uecker, soprano; Alice Tully Hall, New York, NY; April 7, 1987
Additional Information: • See Vocal section for original version, for Soprano and Piano

Available Separately:

Full Score - Study (#416-41389)
Full Score - Large (416-41389L)

Symphony No. 1, Op. 9 (1982) -- 45'
3-3-4-3; 4-4-3-1; Timp., 3Perc., Cel./Pno., Hp., Str.
Available from the Presser Rental Library
Premiere Information: Juilliard Orchestra, Paul Zukofsky, conductor; Alice Tully Hall, New York, NY; February 19, 1988
Additional Information: • Dedicated to David Diamond. • B.M.I. Award, 1987. • First Prize, Juilliard Orchestral Competition, 1987.

Movements:
• 1. Andante
• 2. Allegro con fuoco
• 3. Largo con variazioni
• 4. Largo e mesto

• Reviews

Available Separately:

Full Score - Study (#416-41386)
Full Score - Large (416-41386L)

Symphony No. 2, Op. 67 In one movement (1999) -- 40'
SATB Chorus; 3-3-3-3; 4-3-3-1; Timp., Hp., Pno., Cel., Org., 4Perc., Str.; opt. brass: 3Tpt., 3Tbn.
Available from the Presser Rental Library
Commission Information: Ford Lacy and Cece Smith
Premiere Information: Dallas Symphony Orchestra and Chorus, Andrew Litton, conductor; Meyerson Hall, Dallas, TX; February, 2000
Additional Information: • Text adapted by the composer from the poems of Walt Whitman.

Symphony No. 3, Op. 113 (2010) -- 21'
3(dbl.Picc.) 3(dbl.E.H.) 3(dbl.B.Cl.) 3(Cbsn.) – 4 3 3 1; Timp. 3Perc. Hp. Pno.(dbl.Cel.) Str.(Vln. divisi in 3pt.)
Available from the Presser Rental Library
Commission Information: Commissioned through the Magnum Opus Project: Kathryn Gould founding patron and commissioner, and Meet The Composer, project manager.
Premiere Information: 5th, 6th, 7th November, 2010. Virginia Symphony, conducted by JoAnn Falletta; Newport News (Ferguson Center), VA (5th), Norfolk (Chrysler Hall), VA (6th), Virginia Beach (Sandler Center), VA (7th)
• Reviews

The Domain Of Arnheim, Op. 33 (1990) -- 16'
2-2-2-2; 2-2-1-0; 2Perc., Pno., Hp., Cel., Str. (min. 8-7-6-4-2)
Available from the Presser Rental Library
Commission Information: 92nd Street Y, New York, NY
Premiere Information: New York Chamber Symphony, Gerard Schwarz, conductor; Kaufmann Concert hall, 92nd Street Y, New York, NY; January 12, 1991
Additional Information: • Dedicated to Gerard Schwarz.
• Reviews

Available Separately:

Full Score - Large (#416-41188)

Three American Sketches, Op. 111 (2010) -- 9'
3(d.Picc.) 2 2 2 – 4 3 3 1; Timp. 2Perc. Hp. Str.
Available from the Presser Rental Library
Commission Information: Evansville Philharmonic
Premiere Information: March 17, 18, 19, 2010; Evansville Philharmonic, conducted by Lowell Liebermann

Available Separately:

Full Score - Large (#416-41388L)
Full Score - Study (416-41388)

Three Poems of Stephen Crane, Op. 11 for Baritone, String Orchestra, Two Horns and Harp (1983) -- 10'
Available from the Presser Rental Library
Premiere Information: Warwick Festival Chamber Orchestra, Dennis Raley, bass, Lowell Liebermann, conductor; Warwick Music Festival, Warwick, NY; October 19, 1996
Additional Information: • Devora Nadworney Award, National Federation of Music Clubs, 1986.

Available Separately:

Full Score - Study (#411-41125)

Variations on a Theme of Mozart, Op. 75 for Orchestra (2001) -- 20'
3(Picc.)-3-3-3; 4-3-3-1; Timp., Hp., Pno. Cel., 4Perc., Str.
Available from the Presser Rental Library
Commission Information: NHK Symphony (Tokyo) for their 75th Anniversary
Premiere Information: NHK Symphony, Charles Dutoit, conductor; NHK Hall, Tokyo; October 5, 2001
Additional Information: • Dedicated to Charles Dutoit. • See also original version, for Two Pianos.

Available Separately:

Full Score - Study (#416-41274)
Full Score - Large (#416-41274L)

War Songs for Bass Voice and Orchestra, Op. 7 (1981)
Additional Information: • See also original version, for Baritone and Piano
Poems by Hermann Melville

Available Separately:

Full Score - Study (#416-41390)
Full Score - Large (416-41390L)

Whitman Oratorio, A Op. 105 for Tenor and Baritone solos, Men's Chorus and Orchestra (2008) -- 40'
Commission Information: Commissioned by the Boston Gay Men's Chorus
Premiere Information: April 5, 2008, The Boston Gay Men's Chorus, Symphony Hall, Boston, MA

Available Separately:

Full Score - Large (#416-41387L)
Full Score - Study (#416-41387)
Piano/Vocal Score (#412-41086)

Vocal

A Poet To His Beloved, Op. 40 for Tenor, Flute, String Quartet and Piano (1993) -- 15'
Published: #111-40139
Commission Information: Susan and Elihu Rose
Premiere Information: Robert White, tenor, James Galway, flute, Brian Zeger, piano and The Lark Quartet; Alice Tully Hall, New York, NY; February 17, 1993
Additional Information: • Dedicated to Robert White.
• Recordings

Available Separately:

Set of parts (#111-40139P)
Full Score - Large (#111-40139S)
Piano Reduction (#111-40197)

Appalachian Liebeslieder for Soprano, Baritone, and Piano Duet, Op. 54 (1996) -- 20'
Published: #411-41102
Commission Information: New York Festival of Song
Premiere Information: Weill Recital Hall, New York, NY; January 15, 1997
• Reviews

Final Songs, Op. 21 (1987)
Published: #111-40202
• Recordings

Night Songs, Op. 22 (1987)
Published: #111-40206
• Recordings

On The Beach At Night, Op. 78 for Voice and Piano (2001) -- 8'
Published: #111-41099)
Commission Information: Metropolitan Museum of Art, for tenor Robert White
Premiere Information: November 17, 2001; The Metropolitan Museum of Art, NYC; Robert White, tenor, Brian Zeger, piano
Additional Information: • Text from the poem by Walt Whitman.

Out Of The Cradle Endlessly Rocking, Op. 41 for Mezzo-soprano and String Quartet (1993) -- 15'
Published: #111-40136
Commission Information: Joel Morgan
Premiere Information: Phyllis Pancella, mezzo-soprano, New World String Quartet; University of Kansas; April 2, 1993
• Recordings

Available Separately:

Set of parts (#111-40136P)
Full Score - Large (#111-40136S)
Piano Reduction (#111-40198)

Sentimental Songs, Op. 89 for Voice and Piano (2004)
Additional Information: Poems by John Fowles

Six Songs on Poems by Henry W. Longfellow for Tenor and Piano, Op. 57 (1997) -- 15'
Published: #111-40164
Commission Information: Geraldine and Emory Ford Foundation
Premiere Information: Robert White, tenor, Lowell Liebermann, piano; Merkin Concert Hall, New York, NY; February 17, 1998
Additional Information: • Dedicated to Robert White.
• Recordings

Six Songs on Poems by Raymond Carver, Op. 80 for Baritone and Piano (2002) -- 15'
Published: #111-40204
Commission Information: Commissioned by the Marilyn Horne Foundation
Premiere Information: First Performance: 14 April, 2002; Lester Lynch, baritone; J. J. Penna, piano; Merkin Concert Hall, New York City
• Recordings

Six Songs on Poems of Nelly Sachs, Op. 14 for Soprano and Piano (1985)
Published: #111-40227
Additional Information: • See also transcription for Soprano and Orchestra (available on rental).

Stopping by Woods On A Snowy Evening, Op. 104 for bass-baritone and piano (2008) -- 15'
Commission Information: Commissioned by David Neal and The Arts at Grace
Premiere Information: April 20, 2008, David Neal, bass-baritone; Sar-Shalom Strong, piano, Grace Episcopal Church, Cortland, NY

Struwwelpeterlieder, Op. 51 for Soprano, Viola and Piano (1996) -- 10'
Published: #111-40165
Commission Information: Goliard Chamber Ensemble
Premiere Information: Susan Mello, soprano, Marka Gustavsson, viola, Lowell Liebermann, piano; Warwick Festival of Music, Warwick, NY; October 19, 1996
Additional Information: • Texts by Dr. Heinrich Hoffmann.

The Next Time, Op.73 for Baritone and Piano (2001) -- 5'
Published: #111-40205
Commission Information: Commissioned by the New York Festival of Song
Premiere Information: February, 2001; The Danny Kaye Playhouse, NYC; Mel Ulrich, baritone; Steven Blier, piano
Additional Information: Poem by Mark Strand

Three Dream Songs for Baritone and Piano, Op. 53 (1996) -- 6'
Published: #111-40174
Premiere Information: Robert White, tenor; Lowell Liebermann, piano; The Helicon Foundation, New York, NY; March 21, 1999
Additional Information: • Dedicated to Geraldine Ford
• Recordings

Three Poems of Stephen Crane for Voice and Piano, Op. 11a -- 10'
Published: #111-40233

Two Songs on Poems of Anthony Hecht, Op. 86 for Voice and Piano (2003) -- 7'
Commission Information: Commissioned by the West Chester Poetry Conference in Celebration of Anthony Hecht’s 80th Birthday.
Premiere Information: June 6th, 2003; Robert Barefield, baritone; Carl Cranmer, piano; West Chester University Poetry Conference; West Chester, Pennsylvania

Movements:
• Tarantula, or The Dance of Death
• The Darkness and the Light Are Both Alike to Thee

War Songs for Baritone and Piano, Op. 6 (1980) -- 15'
Published: #111-40232
Additional Information: • See also transcription for Bass Voice and Orchestra.
Grand Prize, Delius International Composition Contest; Jacksonville, Florida; 1986
Poems by Hermann Melville

Recordings

Nocturne No. 1, Op. 20 for Piano Solo

Musical Heritage Society MHS 512647Y:
David Korevaar, piano.

Azica Records No. ACD-71213:
Lara Downes, piano

Koch Records KIC-CD-7548: Lowell Liebermann: Piano Music, Volume 1
David Korevaar

Nocturne No. 3, Op. 35 for Piano Solo

Koch Records KIC-CD-7548: Lowell Liebermann: Piano Music, Volume 1
David Korevaar, piano

Nocturne No. 4, Op. 38 for Piano Solo

Azica Records No. ACD-71213:
Lara Downes, piano

Koch Records KIC-CD-7548: Lowell Liebermann: Piano Music, Volume 1
David Korevaar, piano

Nocturne No. 2, Op. 31 for Piano Solo

Koch Records KIC-CD-7548: Lowell Liebermann: Piano Music, Volume 1
David Korevaar, piano

Nocturne No. 5, Op. 55 for Piano Solo

Koch Records KIC-CD-7548: Lowell Liebermann: Piano Music, Volume 1
David Korevaar, piano

Nocturne No. 6, Op. 62 for Piano Solo

Koch Records KIC-CD-7548: Lowell Liebermann: Piano Music, Volume 1
David Korevaar, piano

Nocturne No. 7, Op. 65 for Piano Solo

Koch Records KIC-CD-7548: Lowell Liebermann: Piano Music, Volume 1
David Korevaar, piano

Three Impromptus, Op. 68 for Piano Solo

Koch Records KIC-CD-7548: Lowell Liebermann: Piano Music, Volume 1
David Korevaar

Out Of The Cradle Endlessly Rocking, Op. 41 for Mezzo-soprano and String Quartet

Arabesque Recordings No. Z6770: Songs of Lowell Liebermann
Robert White, tenor and Lowell Liebermann, piano

A Poet To His Beloved, Op. 40 for Tenor, Flute, String Quartet and Piano

Koch Records KIC-CD-7549: Lowell Liebermann: Complete Chamber Music for Flute
Alexa Still/Fl.; David Korevaar/Pno.; Franco Platino/Gtr.; Victoria Drake/Harp.; Curt Peterson/Ten.

Arabesque Recordings No. Z6770: Songs of Lowell Liebermann
Robert White, tenor and Lowell Liebermann, piano

Six Songs on Poems by Henry W. Longfellow for Tenor and Piano, Op. 57

Arabesque Recordings No. Z6770: Songs of Lowell Liebermann
Robert White, tenor and Lowell Liebermann, piano

Three Dream Songs for Baritone and Piano, Op. 53

Arabesque Recordings No. Z6770: Songs of Lowell Liebermann
Robert White, tenor and Lowell Liebermann, piano

Sonata for Flute and Piano, Op. 23

Denon Records (Japan) COCQ-83421:
Ayako Takagi, flute

ARTEK Recordings AR-0034-2: "Debut: Chamber Music of Lowell Liebermann"
David Fedele/Flute, Robert Koenig/Piano

Centaur Records CRC 2203: American Flute
Claudia Anderson, flute and Barbara Michaelson, piano

Avie Records AV 00004: American Flute Music
Jeffrey Khaner, flute and Hugh Sung, piano

Intim Musik No. IMCD 034: American Sonatas
Göran Marcusson, flute and Joakim Kallhed, piano

4Tay Records CD-4006: Angel Shadows
Laurel Ann Maurer, flute and Mark Neiwirth, piano

Laurel Records No. LR-857: Flute Moments with Teresa Beaman
Teresa Beaman, flute and Andreas Werz, piano

Arte Nova Classics No. 74321910152: Judith Müller: Flute Portrait
Judith Müller, flute and Cordula Hacke, piano

Koch Records KIC-CD-7549: Lowell Liebermann: Complete Chamber Music
Alexa Still, flute and David Korevaar, piano

Pergola Recordings 1038: Paula Live!
Paula Robison/Flute, Jean-Yves Thibaudet/Piano

Henry Productions No. KLT 002: Triligence
Kirsten Spratt, flute and Elizabeth Mucha, piano

Centaur Records CRC 2146: Virtuoso American Flute Works
Katherine Kemler, flute and Kathleen Rountree, piano

Sonata for Viola and Piano, Op. 13

Cedille Records No. CDR 90000 053: American Viola Works
Cathy Basrak, viola and William Koehler, piano

Albany Records 684: Chamber Music of Lowell Liebermann
William Terwilliger, violin Andrew Cooperstock, piano

Chamber Concerto No. 1 for Violin, Piano and String Quartet, Op. 28

Albany Records 684: Chamber Music of Lowell Liebermann
William Terwilliger, violin Andrew Cooperstock, piano Ying Quartet (Op. 28)

Sonata for Flute and Guitar, Op. 25

Koch Records KIC-CD-7549: Lowell Liebermann: Complete Chamber Music for Flute
Alexa Still, flute and Franco Platino, guitar

NAXOS No. 8.559146: Naxos American Classics
Alexandra Hawley, flute and Jeffrey McFadden, guitar

New Classical Adventure No. 9912847-215: Neue Musik für Flöte und Gitarre
Elisabeth Riessbeck, flute and Klaus Jäckle, guitar

Quintet for Piano, Clarinet and String Trio, Op. 26

Koch International Classics KIC-CD-7743: Lowell Liebermann
David Korevaar/Piano, Jon Manasse/Clarinet, Patrick Mason/Baritone, et al.

Trio for Piano, Violin and Cello, Op. 32

Albany Records 684: Chamber Music of Lowell Liebermann
William Terwilliger, violin Andrew Cooperstock, piano Andres Diaz, cello

Quintet for Piano and Strings, Op. 34

Koch International Classics KIC-CD-7743: Lowell Liebermann
David Korevaar/Piano, Jon Manasse/Clarinet, Patrick Mason/Baritone, et al.

Two Pieces for Violin and Viola, Op. 4

Albany Records 684: Chamber Music of Lowell Liebermann
William Terwilliger, violin Erika Eckert, viola (Op. 4)

Soliloquy, Op. 44 for Solo Flute

Opus One Recordings No. 169:
Katherine Kemler, flute

Fanfare Publications No. 00022-1: American Flute Music
Yvonne Chavez Hansbrough, flute

Cantilena Records No. 18: Inflorescence I - Music for Solo Flute
Laurel Zucker, flute

Koch Records KIC-CD-7549: Lowell Liebermann: Complete Chamber Music for Flute
Alexa Still, flute

New Classical Adventure No. 9912847-215: Neue Musik für Flöte und Gitarre
Elisabeth Riessbeck, flute

Centaur Records CRC 2399: Sky Loom
Katherine Kemler, flute

Sonata for Violin and Piano No. 1, Op. 46

Fibonacci Productions No. FIBO-002:
Damien Pardoen, violin and Stéphane De May, piano

Sonata for Flute and Harp, Op. 56

Koch Records KIC-CD-7549: Lowell Liebermann: Complete Chamber Music for Flute
Alexa Still, flute and Victoria Drake, harp

Firestar Music CD 979806: The Power of Two
Sparx Duo: Joan Sparks, flute and Anne Sullivan, harp

Eight Pieces, Op. 59 for Bass Flute, Alto Flute, C Flute or Piccolo Solo (or in alternation at performer’s discretion)

Cantilena Records No. 21: Inflorescence II - Music for Solo Flute
Laurel Zucker, flute

Koch Records KIC-CD-7549: Lowell Liebermann: Complete Chamber Music for Flute
Alexa Still, flute and David Korevaar, piano

Sonata No. 1 for Violoncello and Piano, Op. 3 In one movement

Ambassador No. ARC 1022: American Interweave: New Music for Cello and Piano
Rajan Krishnaswami, cello and Mark Salman, piano

Nocturne Fantasy, Op. 69 for Two Guitars, in One Movement

MSR Classics 1298: Music from Raritan River
Newman-Oltman Guitar Duo

Five Pieces from Album for the Young, Op. 79 for Flute and Piano

Koch Records KIC-CD-7549: LIEBERMANN: Five Pieces from Album of the Young
Alexa Still, flute David Korevaar, piano

Trio No. 1 for Flute, Cello and Piano, Op. 83

ARTEK Recordings AR-0034-2: "Debut: Chamber Music of Lowell Liebermann"
Trio Fedele

Centaur Records 2907: The New Lyric Flute
Susan Royal, Flute; Natasha Farny, Cello; Nathan Hess, Piano

Trio No. 2 for Flute, Cello and Piano, Op. 87

ARTEK Recordings AR-0034-2: "Debut: Chamber Music of Lowell Liebermann"
Trio Fedele

Trio No. 2 for Piano, Violin and Cello, Op. 77

Albany Records 684: Chamber Music of Lowell Liebermann
William Terwilliger, violin Andrew Cooperstock, piano Andres Diaz, cello

Concerto for Flute and Orchestra, Op. 39

Delos International DE 3256:
Eugenia Zuckerman, flute with Dallas Symphony Orchestra, Andrew Litton, conductor

RCA Victor Red Seal No. 09026632352: James Galway plays Lowell Liebermann
James Galway, flute, with London Mozart Players, Lowell Liebermann, conductor

RCA Victor Red Seal No. 09026634322: James Galway: Sixty Years, Sixty Flute Masterpieces
James Galway, flute with London Mozart Players, Lowell Liebermann, conductor

RCA Victor Red Seal No. 09026634412: James Galway: Sixty Years, Sixty Flute Masterpieces (Highlights)
James Galway, flute with London Mozart Players, Lowell Liebermann, conductor

Concerto for Flute, Harp, and Orchestra, Op. 48

RCA Victor Red Seal No. 09026632352: James Galway plays Lowell Liebermann
James Galway, flute and Hyun-Sun Na, harp with London Mozart Players, Lowell Liebermann, conductor

Concerto for Piccolo and Orchestra, Op. 50

RCA Victor Red Seal No. 09026632352: James Galway plays Lowell Liebermann
James Galway, piccolo, with London Mozart Players, Lowell Liebermann, conductor

Concerto No. 1 for Piano and Orchestra, Op. 12

Hyperion Records CDA66966: Piano Concertos
Stephen Hough, piano with BBC Scottish Symphony Orchestra, Lowell Liebermann, conductor

Concerto No. 2 for Piano and Orchestra, Op. 36

Hyperion Records No. CDA66966: Piano Concertos
Stephen Hough, piano with BBC Scottish Symphony Orchestra, Lowell Liebermann, conductor

Final Songs, Op. 21

Arabesque Recordings No. Z6770: Songs of Lowell Liebermann
Robert White, tenor and Lowell Liebermann, piano

Night Songs, Op. 22

Arabesque Recordings No. Z6770: Songs of Lowell Liebermann
Robert White, tenor and Lowell Liebermann, piano

Variations On A Theme By Anton Bruckner, Op. 19 for Piano Solo

Musical Heritage Society MHS 512647Y:
David Korevaar, piano.

Koch Records KIC-CD-7552: Lowell Liebermann: Piano Music, Volume 2
David Korevaar, piano

Gargoyles, Op. 29 for Piano Solo

New World Records No. 80426:
Michael Boriskin, piano.

Alexander Djordjevic: Piano
Alexander Djordjevic, piano

Master Musicians ESCD006: Anthony Hewitt: Live at the Wigmore
Anthony Hewitt, piano

TNC Recordings TNC CD 1410: Kiev International Piano Competition: in Memory of Vladimir Horowitz
Brian Wallik, piano

Koch Records KIC-CD-7552: Lowell Liebermann: Piano Music, Volume 2
David Korevaar, piano

ABC Classics Roger Wright: Piano Masterpieces
Roger Wright, piano

Barbarian Records The Americans
David Troy Francis, piano

Virgin Classics VC 7 59304 2: The Piano Album, Volume 2
Stephen Hough, piano.

Four Apparitions, Op. 17 for Piano Solo

Musical Heritage Society MHS 512647Y:
David Korevaar, piano.

Koch Records KIC-CD-7548: Lowell Liebermann: Piano Music, Volume 1
David Korevaar

JLH Lasersound JLH 1002: Virtuoso Piano Music of Our Own Time
Christina Petrowska, piano

Piano Sonata No. 2 ("Sonata Notturna") Op. 10 for Piano Solo, in one movement

Musical Heritage Society MHS 512647Y:
David Korevaar, piano.

Koch Records KIC-CD-7552: Lowell Liebermann: Piano Music, Volume 2
David Korevaar, piano

Cambria Master Recordings CD-1094: Piano Works by Ruth Schonthal and Lowell Liebermann
Margaret Mills, piano.

Album for the Young, Op. 43 for Piano Solo

Koch Records KIC-CD-7549: Lowell Liebermann: Complete Chamber Music for Flute
Alexa Still, flute and David Korevaar, piano

Koch Records KIC-CD-7552: Lowell Liebermann: Piano Music, Volume 2
David Korevaar, piano

Hyperion Records No. CDA66966: Piano Concertos
Stephen Hough, piano with BBC Scottish Symphony Orchestra, Lowell Liebermann, conductor

Piano Sonata No. 1, Op. 1 for Piano Solo

Musical Heritage Society MHS 512647Y:
David Korevaar, piano.

Koch Records KIC-CD-7552: Lowell Liebermann: Piano Music, Volume 2
David Korevaar, piano

Cambria Master Recordings CD-1094: Piano Works by Ruth Schonthal and Lowell Liebermann
Margaret Mills, piano.

Paean for Wind Band, Op. 49

Mark Recordings TMEA96MCD3: 1996 Texas Music Educators Association
West Texas A&M Symphonic Band, Gary Garner, conductor

Symphony No. 2, Op. 67 In one movement

Delos International DE 3256:
Dallas Symphony Orchestra and Chorus, Andrew Litton, conductor

Six Songs on Poems by Raymond Carver, Op. 80 for Baritone and Piano

Koch International Classics KIC-CD-7743: Lowell Liebermann
David Korevaar/Piano, Jon Manasse/Clarinet, Patrick Mason/Baritone, et al.

Reviews

"…continues to please audiences with his rhapsodic, well-crafted music."

-www.classicalcdreview.com

"The piano works of American composer Lowell Liebermann (b. 1961) are significant and poetic additions to the keyboard repertoire… [They] are written with a masterly command of idiomatic keyboard writing. He is a formidable pianist who understands (and exploits) the coloristic and virtuosic possibilities of the instrument. He also believes that a composer should be an active performer, and that this connedtion to the real-world possibilities and limitations (and joy) of music-making is essential to the art and craft of composition… Liebermann possesses a distinctive musical voice and has already made a significant contribution to the international piano repertoire. He is not shy about his pursuit of beauty in composition, and audiences and performers enthusiastically embrace his works. His expressive music in our sometimes sterile world is a joy to hear, play, and teach."

-William T. Spiller, Journal of the Music Library Association

"Liebermann's lyric bent and his ability to create beautiful and varied textures find a natural outlet in the genre of the nocturne… All of Liebermann's nocturnes are beautifully expressive and require both a sophisticated piano technique and a refined, coloristic musical imagination."

-William T. Spiller, Journal of the Music Library Association

Symphony No. 3, Op. 113

"Liebermann has been tagged as a composer of unabashed lyricism…but from the beginning one can detect a shadowy side to this work.

Falletta and the Virginia Symphony caught the overall feeling of somberness and anxiety that pervades this work.

The orchestra deftly incorporated the layers of sound that mingled and built to a shattering level before dying off."

-David Nicholson, American Record Guide

Quartet for Piano and Strings, Op. 114

"[Nancy Ondov, General Director of Music from Angel Fire, said that Liebermann’s work] …was an incredibly beautiful piece and well received…"

-JoAnne Lee, Sangre de Cristo Chronicle

Nocturne No. 11, Op. 112

"…a gorgeous piece of music…

…refreshingly tonal, melodically beautiful…"

-F. Cord Volkmer, East Hampton Press

Concerto for Clarinet and Orchestra, Op. 110

"…tour-de-force for the clarinetist…

…sincerely arching melodies and an advanced tonal style incorporating added note chords, untraditional harmonic progressions, touching suspensions and octatonic scales for varied effect."

-“The Clarinet”

"…Evokes a feeling of wonder, beauty, a sunrise, morning.

…highly accessible, yet refreshingly new-sounding piece…

[Jon] Manasse-playing-Liebermann stole the show…"

-Christine G.K. LaPado, NewsReview.com

"…Clarinet piece was rare jewel [headline]

…a show-stopper.

But when the Concerto for Clarinet and Orchestra, Op. 110, by American composer Liebermann cruised to a breathless finish and the standing ovation and the shouts of bravo were echoing through the hall, it seemed clear that we had heard a piece that will remain in the repertoire for decades to come.

It is lyrically gorgeous, full of ravishing tunes from the opening whole-tone scales to the perpetual motion finale.

Lowell Liebermann’s magnificent new clarinet concerto outshone everything else."

-Seth Williamson, Roanoke Times

Kontrapunktus, Op. 52 for Five Japanese Drums and Orchestra

"…a fascinating work, both new sounding and yet accessible and almost familiar in its contrapuntal interplay of Eastern and Western Sound and in the embroidery of orchestra against the gradually intensifying bass line provided by the drumming…the Liebermann work was the evening’s highlight."

-Kalamazoo Gazette

Concerto for Trumpet and Orchestra, Op. 64

"Liebermann has succeeded in…balancing bravura and a wealth of attractive musical ideas to create a score that invites repeated listening. He is a masterful orchestrator, and just from that standpoint the new concerto is immediately arresting. (It) brought down the house."

-Barrymore Lawrence Scherer, The Wall Street Journal

"…a wonderfully well-made study in neo-romanticism with a darkly lyrical slow movement and raucously witty finale…The audience ate it up, as did I, and my guess is that it will enter the standard repertoire very quickly, and with good reason."

-Terry Teachout, The Washington Post

Dorian Gray: A Symphonic Portrait, Op. 70

"…this is just the sort of piece that restores the public’s confidence in 20th century music and gives us hope. It was full of rich melodies, fresh musical ideas and soaring grandeur."

-Punch Shaw, Ft. Worth Star-Telegram

Rhapsody on a Theme of Paganini, Op. 72 for Piano and Orchestra

"One of the finest pieces I've heard among American concertos."

-The Indianapolis Star

Concerto for Violin and Orchestra, Op. 74

"…shrewdly written for the solo violin, aimed at exploiting the instrument's beauty of tone and its predilection for lyrical flights…the composer sustains a great deal of interest and structural content…there are moments of great beauty. Surely this is a work that will live on."

-Michael Anthony, Minneapolis Star Tribune

"The orchestration is rich, colorful and exotic, the violin passages, both haunting virtuosic, were gorgeously performed by [violin soloist Chantal] Juillet."

-Bill Rice, The Albany Gazette-Reporter

"…soloist Juillet deftly navigated [Liebermann's] hairpin turns from solemn meditation to fiery frenzy."

-Rob Hubbard, St. Paul Pioneer Press

"The real highlight of the concert for me, though, was the Lowell Liebermann Violin Concerto…Liebermann uses those melodies and lush orchestrations to viscerally, emotionally, directly grab the audience."

-publicradio.org

String Quartet No. 4, Op. 103

"It's a remarkable piece. The mood is elegiacal and meditative, the melodic lines sinuous and searching, the harmonies rich and astonishingly beautiful. Liebermann works within the tradition of Western tonality, but that is a mansion with many rooms. Liebermann inhabits all of them as his expressive purposes require, and he doesn't mind knocking down a wall to create new harmonic spaces. … Much of the music…is a highly advanced and fluid chromatic expressionism with modernist tendencies."

-Mike Greenberg, IncidentLight.com

"…there’s a lot to love about the piece.

Liebermann is a good judge of mood, steering the music away from complete despair at just the right moment for a spot of hope. Elsewhere he vacillates between two distinct ensemble sounds, moving from delicate to saturated and back again. Lovely."

-Peter Dobrin, The Philadelphia Inquirer

Nocturne No. 3, Op. 35 for Piano Solo

"…unutterably lovely."

-San Antonio Express-News

"…unutterably lovely."

-Mike Greenberg, San Antonio Express-News

"The piece is exquisite."

-Diane Windeler, San Antonio Light

Nocturne No. 2, Op. 31 for Piano Solo

"His Second Nocturne, op. 31 (1990), dedicated to the memory of South-African pianist Steven De Groote (1953-1989), begins with a bel canto melody presented in delicate and feathery textures… This work is an eloquent and moving commentary on the tragedy of losing a great pianist long before his time."

-William T. Spiller, Journal of the Music Library Association

"This plaintive, mournful excursus into neo-Romanticism… is half-Scriabin, half-Chopin, and wholly Liebermann. It unfolds like a flower, petal by petal, into full-blown complexity and exquisite beauty… Its seven minutes of remarkably affecting music is certain to find its place in other recitals quickly. Most deservedly so, too."

-Faubion Bowers, Musical America

Nocturne No. 5, Op. 55 for Piano Solo

"…Beautiful counter-melodies, right-hand turns, and double-thirds develop with each return of the main theme. This is an excellent piece for any advanced student or pianist to play for recitals or competitions."

-Clavier Magazine

"…commissioned by the adele Marcus Foundation and dedicated to the memory of the great piano pedagogue Adele Marcus, is a work of simple, poetic beauty… This nocturne requires a highly refined Chopinesque touch and imagination to fulfill the crystalline coloristic possibilities."

-William T. Spiller, Journal of the Music Library Association

Nocturne No. 7, Op. 65 for Piano Solo

"…a lighter texture, with some drama in the ternary form's middle section. The subtle and choreographically demanding mix of touches poses a challenge in this atmospheric work."

-William T. Spiller, Journal of the Music Library Association

Three Impromptus, Op. 68 for Piano Solo

"The impromptus have some of the characteristics expected from the genre--compound meter, an improvisatory feelling, many lyric melodies as well as bursts of virtuosity… each piece has a strong character and mixes lyricism with great coloristic possibilities in a concise, pianistic fashion."

-William T. Spiller, Journal of the Music Library Association

"…this work shows that inventiveness and genius can still inhabit classical structures and forms."

-Antonio Pompa-Baldi, Clavier

Nocturne No. 8, Op. 85 for Piano Solo

"…nods to ethereal Chopin tweaked with anguished harmonies."

-Donald Rosenberg, Cleveland Plain Dealer

"dreamy and suptuous, yet vaguley disturbing…"

-Michael Huebner, The Birmingham News

"The wonderful thing about all of Liebermann’s music is that he writes beautifully yet unpredictably. The nocturne lulled us with quiet musical darkness while wandering into a wistful dissonance, and did not avoid the fitful storms that sometimes come after nightfall."

-John Sutherland, The Seattle Times

Sonata for Flute and Piano, Op. 23

"…A breathtaking new Sonata by Lowell Liebermann. Don’t miss this one."

-Leslie Gerber, Classical Pulse!

"…A transparent, ingratiating, mordantly melodic piece that sported a keen sense of acoustic color. When flute and piano busied themselves covertly adding overtones to each other’s timbres, it took on something of the aspect of black magic."

-Richard Buell, Boston Globe

"…A multi-textured, beautifully crafted sonata."

-Diane Windeler, San Antonio Light

"…Commissioned by Spoleto for Miss Robison. The festival — and the audience — got its money’s worth."

-William W. Starr, The State (Columbia, SC)

"…A work of amazing beauty that created a mini-sensation with the audience."

-Larry McGinn, Post-Standard

"Mr. Liebermann has his own technique and doesn’t sound like he’s a slave to any style, cult or theory. His music has color, warmth, beauty and strength, and it manages to sound lovely without being vapid. It’s worth hearing, and it’s worth thinking about… This is a composer to be watched."

-Robert Jones, Charleston News and Courier

"The standing-room only audience gave the composer, who was present for the premiere, a tremendous ovation. The two-movement work is a tour de force for both pianist and flutist."

-Claire McPhail, Charleston News and Courier

Sonata for Viola and Piano, Op. 13

"…From a program of amiably unexceptional Americana, there leapt (almost literally) a Viola Sonata by the young American composer Lowell Liebermann, striking for its muscle, character and unexpected Russophilia."

-Michael White, The Independent (London)

"The word ‘genius’ is overly exploited these days, but to find someone that young who can so masterfully express warmth, passion, tenderness, anxiety and loneliness without self-consciousness, without overstating and sentimentalizing, and with a simplicity of means that is deceptive, brings the term immediately to mind."

-Jacob Siskind, Ottawa Citizen

"…A major composition rich in musical content and extremely rewarding for its performers. This work is recommended very highly to all violists."

-The Violexchange

Fantasy on a Fugue by J.S. Bach, Op. 27 for Flute, Oboe, Clarinet, Horn, Bassoon and Piano

"Liebermann is only 29, but this piece shows a brilliance of his own in masterful ways. It’s the kind of piece you want to hear again, right away."

-William Glackin, Sacramento Bee

Chamber Concerto No. 1 for Violin, Piano and String Quartet, Op. 28

"Lowell Liebermann’s Concerto for Violin, Piano and String Quartet is simply smashing… Its expansiveness is in its depth, its matching of spiritual intent to heroic expression and architectural solidity. This special melding of soul, body and mind is the hallmark of great music."

-Paul Somers, The Star-Ledger (Newark, NJ)

"The audience exploded with tumultuous applause. Lowell Liebermann is one of America’s most gifted young composers."

-Clair McPhail, Evening Post (Charleston, SC)

"…a score that is likely to become a staple of the chamber music repertoire."

-William W. Starr, The State (Columbia, SC)

"…a significant addition to the chamber music repertoire.… it is brilliant, melodious, heartwarming music that soars and shimmers, rises to frenzies and engages in moments of intense dialogue."

-Joseph McLellan, Washington Post

Trio for Piano, Violin and Cello, Op. 32

"…His Piano Trio in one movement carried a forceful personality. Liebermann’s grasp of polytonality is sure and gripping, and the 10-minute piece was well-received."

-Marilyn Tucker, San Francisco Chronicle

"Of greatest interest to this listener was Lowell Liebermann’s one movement Trio, Op. 32.… the work was impressive… and sufficiently melodic and harmonic to make us think that there is, indeed, a future in art music composition. Bravo, Mr. Liebermann, may you live to write many more pieces."

-Nixon Bicknell, The Montclair Times

Quintet for Piano and Strings, Op. 34

"For all of Mr. Liebermann’s obvious technical gifts, he has something far more valuable: emotional honesty. There is rich sentiment and genuine feeling to his music."

-Blake Samson, Greenville News

"This piece has the potential to become part of the standard repertoire. This is an emotional piece; it has something to say, and it says it with great force and character."

-Richard F. Binder, Nashua Telegraph

String Quartet No. 1, Op. 5 In one movement

"…imaginative, shimmering score…scintillating"

-Janelle Gelfand, The Enquirer, Cincinnati

Sonata for Flute and Harp, Op. 56

"…this sonata's musical ideas are so well thought out, varied and combined that they create an exquisite, unified piece of music."

-Suzanne L. Moulton-Gertig, MLA Notes

Trio No. 1 for Flute, Cello and Piano, Op. 83

"…congenial mix of flute, cello, and piano…

…the composer so deftly balances the contributions of these instruments."

-Perry Tannenbaum, American Record Guide

Trio No. 2 for Piano, Violin and Cello, Op. 77

"Again we are impressed by Liebermann’s effective writing for instrumental ensemble. This work generates considerable rhythmic interest, yet always has expressive values pleasing to the ear, mind and emotions."

-Lyn Bronson, Peninsula Reviews

"The Liebermann trio was the centerpiece of the program. Tonal and full of wonderfully melodic writing, the piece also is quite moody and slightly theatrical. It moves quickly, yet convincingly, from quiet, introspective sections to absolutely glowing passages."

-Elaine Schmidt, Milwaukee Journal Sentinel

Chamber Concerto No. 2, Op. 98 for Violin and String Quintet

"the piece probes ominous and tragic corners. The soloist shapes ardent and anguished phrases, with colleagues providing atmospheric underpinning and episodes of vibrant interplay."

-Donald Rosenberg, Cleveland Plain Dealer

Sonata No. 3 for Cello and Piano, Op. 90

"The piece, written as a single arching movement with various subdivisions, manages the feat of simultaneously sounding progressive and nostalgic…"

-Andrew Adler, Courier-Journal.com

"The 18-minute work, performed as a single movement, was the evening's highlight."

-Punch Shaw, Fort Worth Star-Telegram

Concerto for Flute and Orchestra, Op. 39

"…has a fine grasp of the particular abilities of the instrument and has become a favorite of flutists around the world."

-John Sunier, Audiophile Audition (review of release by Linn Records)

"For me, this is the most substantial and significant flute concerto of recent years."

-K.B., Winds

"“Liebermann’s piece was superbly written for both soloist and orchestra, with the flute holding its own whether in dialogue with the upper strings, or topping a crescendo on the timps."

-A.S., Cumberland News

"…the stunning piece on the program was Concerto for Flute and Orchestra, Op. 39, by Lowell Liebermann."

-Elizabeth Bixley, Wisconsin State Journal

"…outstanding…a substantial and rewarding score…

The first movement [is] engaging and dramatic..[and the "Molto adagio" is] one of the most sublime slow movements…one can find anywhere - it's ethereal, serene, and emotionally gripping."

-John W. Lambert, www.cvnc.org

"Liebermann is a flautist's dream composer."

-Kate Sheriff, BBC Music Magazine (5 Stars)

"well-placed climaxes…gorgeously full textures…simultaneously dramatic and witty."

-www.classicalcdreview.com

"…lyrically beautiful, frightfully virtuosic…an attractive work."

-Jim Lowe, Times Argus (Barre-Montpelier, VT)

Concerto for Flute, Harp, and Orchestra, Op. 48

"…it is a privilege to hear a composition that may truly come to be considered the finest flute and harp concerto of the twentieth century."

-Suzanne L. Moulton-Gertig, MLA Notes

"…a one-movement work of considerable beauty."

-www.classicalcdreview.com

Concerto No. 1 for Piano and Orchestra, Op. 12

"…It fully deserved the standing ovation it received."

-Suzanne Weiss, Pioneer Press (Lake Forest, IL)

"…an extremely successful work and a remarkable achievement…Liebermann’s grasp of bravura keyboard writing permeates this showpiece, in which brilliant technical demands mix with varieties of touch and coloristic effects…the tremendous propulsive drive…as well as the constant variation of dynamics and articulation, create a technical tour de force."

-William T. Spiller, Journal of the Music Library Association

"Kudos to Lowell Liebermann, who wrote an amazing contemporary score."

-Roberta E. Zlokower, ExploreDance.com

Concerto No. 2 for Piano and Orchestra, Op. 36

"Perhaps the best piece in the genre since Samuel Barber’s Concerto 30 years ago. The composer was Lowell Liebermann, and his Piano Concerto No. 2… brought a knowledgeable audience of 2,000 music professionals from the league convention to its feet in cheers. The whole piece struck with the force of a superbly constructed narrative. The writing for the piano is terrific throughout, much of it— like the prestissimo duet between the soloist and contrabassoonist that brings the second movement to an end or the magnificent peroration of the concerto’s conclusion– is breathtaking."

-Stephen Wigler, Baltimore Sun

"Rachmaninoff could have used an orchestrator of Mr. Liebermann’s skill."

-Bernard Holland, The New York Times

"The four-movement score is crafted with much skill. Even when he uses a tone-row, Liebermann invests it with lyricism, and there are moments of pure Rachmaninoff. If audience reaction is anything to go by, the work will not lack for further performances."

-Sorab Modi, American Record Guide

"I predict a special future for this piece."

-Maria Spurrell, The Review

The Domain Of Arnheim, Op. 33

"Lowell Liebermann’s Domain of Arnheim… proved immediately likable. It is a superbly crafted 18-minute Straussian tone poem, colorful and richly-textured despite its spare orchestration."

-James Oestreich, The New York Times

Revelry for Orchestra, Op. 47

"An energetic orchestral showpiece with flashes of brilliance, it put the orchestra through its paces."

-Francis Brancaleone, Gannett Newspapers

Symphony No. 1, Op. 9

"Mr. Liebermann’s First Symphony speaks with a distinctive voice and uses the orchestra’s traditional formats with confidence."

-Bernard Holland, New York Times

Variations On A Theme By Anton Bruckner, Op. 19 for Piano Solo

"Liebermann’s set of variations displays a large array of 20th century compositional techniques and is as intellectually stimulating to follow as it is exciting to hear."

-Robert Jones, Charleston News and Courier

"…a fascinating set of nine variations… One left it wishing for a second chance to hear the music."

-William D. Gudger, Charleston News and Courier

Gargoyles, Op. 29 for Piano Solo

"[Gargoyles] filled the hall with almost magical sounds of great beauty and color."

-Vernon Tompkins, Somerset Herald

"The recital seemed to reach its highest point during Gargoyles, an amazing composition by Lowell Liebermann."

-Helen Mosby, The Daily World (Arkansas)

"Lowell Liebermann’s final piece from his Gargoyles (a dazzling neo-romantic Toccata) produced an audience response close to hysteria."

-Bryce Morrison, The Musical Times

Piano Sonata No. 2 ("Sonata Notturna") Op. 10 for Piano Solo, in one movement

"Most attractive in its expert use of pianistic colors and canny sense of working to a well-timed climax."

-Bill Zakariasen, New York Daily News

Album for the Young, Op. 43 for Piano Solo

"Lowell Liebermann is on the right track in Album for the Young. He has the intellectual, emotional, and musical instincts to penetrate the child’s world."

-Denes Agay, Clavier

Sonata No. 4 for Cello and Piano, Op. 108

"What you might call a progressive-conservative, he writes from within the tradition of mid-20th century tonality but takes the discourse further. Engagingly.

…within a single, subdivided movement…it packed a lot of interest. Beautifully crafted. Memorably played."

-Michael White, Telegraph.co.uk

Piano Sonata No. 1, Op. 1 for Piano Solo

"…vigorous and appealing… lyricism, virtuosity, and formal balance… an excellent work, well worthy of study and performance…"

-William T. Spiller, Journal of the Music Library Association

Variations on a Theme By Mozart, Op. 42 for Two Pianos

"…uses many traditional variation procedures with tremendous effect, exploring the theme in both lyric and virtuosic styles, in differing tempos, and with much textural, harmonic, and rhythmic variety… Technical hurdles become more strenuous, especially when rhythmic displacement, chromaticism, and polytonality (in addition to straightforward virtuosity) help shape the contemporary character of the variations. In addition to poetry, tchnical billiance, and dramatic flair, the pianists also need a sense of humor…"

-William T. Spiller, Journal of the Music Library Association

"…a delight…witty, technically sophisticated and flashily scored…quite a showpiece."

-Scott Cantrell, The Dallas Morning News

Piano Sonata No. 3, Op. 82

"……a singular depth, a complexity and – dare I say it? – an importance…

Mr. Liebermann showed that music…can present a multiplicity of emotions within the confines of his own personal logic."

-Harry Rolnick, ConcertoNet.com

"…a gritty pianistic challenge. …it is driven by rhythmic impulse and tempered by soaring lyricism."

-Michael Huebner, Birmingham News

"There is no question, however, that Lowell Liebermann’s Sonata No. 3 Op. 82 is of a very different magnitude to the other new works played in this recital. Its scale is breathtaking, its drama evocative and its lasting place in the repertoire imperishable. Liebermann’s largest solo piano work to date, and his first piano sonata for 20 years, it has all the typical elements of lyrical brilliance and formidable virtuosity which were hallmarks of his two, incandescent piano concertos…It is a magnificent work."

-Marc Bridle, MusicWeb.UK

Appalachian Liebeslieder for Soprano, Baritone, and Piano Duet, Op. 54

"There is no other song cycle in the world quite like Lowell Liebermann’s “Appalachian Lieberslieder”…Liebermann produced music of wit, anger, bewilderment and soaring, ecstatic lyricism – not to mention a parody of the German lieder tradition."

-The Washington Post

Symphony No. 2, Op. 67 In one movement

"His sense of time is genuinely symphonic, his orchestration stunning and inventive."

-www.classicalcdreview.com

Miss Lonelyhearts, Op. 93 Opera in Two Acts. Libretto by J.D. McClatchy, after the story by Nathanael West.

"The score is well paced and well crafted. It has energy and tension…a nice balance between simple composition and complex… The piece has a couple of good arias - or aria-like stretches- and some good and rather unusual duets."

-Jay Nordlinger, New York Sun

"… It is a strong work, musically… This opera has half a chance to last, in my estimation."

-Jay Nordlinger, The New Criterion

"…a satisfyingly self-contained, closely worked-out entity… music that… flatters the singer… The strength of West's prose is its ability to tell this ugly story with a mordant humor that often unexpectedly turns into a flight of irresistible lyrical abandon, a quality that Liebermann's continually inventive score catches with uncanny accuracy."

-Peter G. Davis, Musical America.com

"…a wonderful new opera… a work forging a highly idividual and compelling musical path."

-Bruce-Michael Gelbert, Theater Scene.net

"… I hope that someone will take the chance on [Mrs. Lonelyhearts], and other operas that have that same integrity, so that more audiences will be able to experience these compelling works."

-Heidi Waleson, The Wall Street Journal

"I want the third movement of the Liebermann Piano Concerto No. 3 as part of my new workout soundtrack. Or maybe on the car sound system for my next fast drive… It's that range from quite and introspective, back to tempestuous and racing, that kept me interested. Listeners might make up story lines in their minds - sections would serve as excellent suspense movie music… The crowd apparently loved it, standing at the end to extended applause, which brought Gier and Biegel back out on stage for a second round of bows."

-Jay Kirschenmann, Argus Leader, Sioux Falls, SD

"Lowell Liebermann's "Miss Lonelyhearts"…takes Nathanael West's 1933 novella beyond "dark comedy" into the tragic. It's there in Liebermann's music…

Liebermann…has written a lushly eclectic score that illuminates the text wonderfully."

-Mary Ellyn Hutton, www.musicincincinnati.com

"…fluid and emotionally resonant…The deft orchestration lends coloritic variety to a fluid arioso construction… Miss Lonelyhearts merits further stagings by adventurous ensembles."

-David Shengold, Gay City News (New York)

Symphony No. 2, Op. 67 In one movement

"Liebermann displays a talent for soaring melody that takes one's breath away…it achieves a sweeping grandeur that is hard to resist."

-Robert R. Reilly, Crisis Magazine

"Although he has just turned 40 Lowell Liebermann has already established a reputation as one of America’s most performed and admired young composers. Hearing this magnificent Symphony it is easy to understand why…this is a symphony which more than retains its own identity and ‘voice,’ a work of consummate craftsmanship which more than repays repeated listening."

-Marc Bridle, Music Web UK

"Now brazen and glittering, now radiantly visionary, the Liebermann Second, a resplendent choral symphony based no the poetry of Walt Whitman, is the work of a composer unafraid of grand gestures and open hearted lyricism."

-Terry Teachout, Time Magazine

Concerto No. 3 for Piano, Op.95

"This is a work that exudes melody from its very pores. It is filled with melodic riffs that lead the listener into dark chase scenes, followed by ascending harmonies that lift us ever upward, only to drop before reaching their goal, and then start again…"

-William Martin, Glens Falls Chronicle

"Liebermann’s Concerto was first and foremost superb piano music written by a superb pianist…Lieberman linked a montage of moods and kaleidoscope of colors in a musical conversation of urgent clarity and unabashed, audience-friendly lucidity. Once heard, Liebermann’s music begs to be heard again…the Third Concerto should have a long life and a chance at eternity. It is surely the best piece of new music the SSO has presented in the last 20 years."

-Clifton J. Noble Jr., The Massachusetts Republican

"It opens with thunderous dissonance… with a sense of satire, but beneath the dissonances were orchestral contrasts that softened the sometimes angry strength that came from the pianist's hands. The second movement… was deliberate and pensively simple with a haunting quality… The final movement, called "Burlesque," was a dizzying delight."

-Joe Rice, Traverse City Record-Eagle

"…glittery chords, gossamer lines, and velvety textures…"

-Alex Ross, The New Yorker

"The big crowd…cheered the world premiere of Lowell Liebermann's striking Piano Concerto No. 3. Arresting effects abound —the enchanting music-box combination of harp, glockenspiel, pizzacato viola and piano in the slow movement, for example — but exist for more than their own sake. They work within a large alternation of ferocity and tenderness that grows more and more affecting as the music unfolds."

-Tom Strini, Milwaukee Journal Sentinel

"The concerto has a lot of vigor, color and some dark harmonies with dissonance, but always Liebermann came back to the lyricism, which he created with a master's hand. … The very slow second movement was haunting and magical and showed off Liebermann's skills at pacing and keeping the interest."

-Geraldine Freedman, Daily Gazette (Schenectady, NY)

"The Liebermann concerto itself is a lengthy work packed full of wonderful surprises. It has been described as "accessible." Perhaps. But it is not simple; and a good part of the apparent accessibility comes from construction with a divine pacing… This is a work with a defined musical personality and…substance."

-Jeffrey Johnson, The Hartford Courant

"The piano dominated in the middle movement, weaving a sinuous cantabile line over complex chords, made less acerbic by their soft dynamic and diffuse orchestration. In the latter category, Liebermann is most inventive, especially in unusual insturmental combinations… it was fun, and I would be glad to hear the concerto again."

-Kenneth Herman, www.sandiego.com

The Picture of Dorian Gray, Op. 45 Opera in Two Acts

"To be sure, this genuine writer of songs knows how to make his performers sing… Here he proves himself to be a true master. One awaits impatiently his next opera…"

-Le Figaro

"Musically and dramatically, Mr. Liebermann’s work is effective; as a first opera, it is remarkable… Mr. Liebermann’s handling of the orchestra is masterly, summoning great power at times without in most cases swamping the voices."

-New York Times

"The work is not avant-garde: he uses neither ‘sing-spiel’ nor a disjointed style of singing. He is neo-classical, even neo-romantic. The ‘neo’ is honest and not afraid of being out of fashion… From beginning to end, the drama which unfolds on stage is believable, and that is an achievement."

-Nice-Matin

"…inspired modern operas have become the exceptions. A critical success, like that achieved by Liebermann’s first opera… deserves to claim for itself a place in the realm of these exceptions. Liebermann’s music is listener- and (not least of all) singer-friendly, for the seeping, transparent orchestration allows the lyricism lots of room in which to unfold."

-Das Opernglas

"…one of America's more successful and interesting Neo-Romantic composers… never difficult to listen to… [Liebermann] sets speech rhythms quite naturally… A satisfying evening."

-David Shengold, Philadelphia City Paper

"The new [chamber orchestra] version uses less than half the musicians in Liebermann's richly orchestrated original, but the music's impact remains undiminished.

"The Picture of Dorian Gray" claims a significant place among American operas premiered in recent decades. Liebermann knows how to write melodies that take flight, but he also proves he can create vivid music drama that reflects the passions in Wilde's tale of corrupted innocence.

…compelling…"

-Robert Baxter, www.courierpostonline.com

"The story is highly theatrical and the music is emotional and melodious… [The chamber orchestra version] sounds plenty lush and sonorous. The instrumentation is modern but the tonality is conservative, which is a logical choice for a story set in Victorian times… [Liebermann] writes gratifyingly for the voice…"

-Steve Cohen, www.broadstreetreview.com

"…the composer pared Wilde’s prose down to lines that are literate yet eminently singable; as in a good musical, the words come across. Shot through with expressive melody, brilliantly orchestrated, paced with unerring dramatic flair, the score is… crafted with passion and art."

-Atlantic Monthly

Page last updated February 5, 2013