Lowell Liebermann

  • Lowell Liebermann was born in New York City in 1961. He began piano studies at the age of eight, and composition studies at fourteen. He made his performing debut two years later at Carnegie Recital Hall, playing his Piano Sonata, Op.1, which he composed when he was fifteen. He holds bachelor’s, master’s, and doctoral degrees from the Juilliard School of Music. Among his many awards is a Charles Ives Fellowship from the American Academy and Institute of Arts and Letters as well as awards from ASCAP and BMI. Theodore Presser Company is the exclusive publisher of his music.

    Mr. Liebermann is one of America’s most frequently performed and recorded living composers. Called by the New York Times “as much of a traditionalist as an innovator.” Mr. Liebermann’s music is known for its technical command and audience appeal. Having written over one hundred works in all genres, several of them have gone on to become standard repertoire for their instruments, including his Sonata for Flute and Piano, which has been recorded over twenty times, and his Gargoyles for Piano, which has been recorded at least fifteen times.

    Lowell Liebermann has written two full-length operas, both of which were enthusiastically received at their premieres. His first, The Picture of Dorian Gray, was the only American opera to be commissioned and premiered by Monte Carlo Opera. His second opera Miss Lonelyhearts, to a libretto by J.D. McClatchy after the novel by Nathanael West, was commissioned by the Juilliard School to celebrate its 100th anniversary. Among his orchestral works, Mr. Liebermann has composed four Symphonies – the Second, with chorus, written for the centennial of the Dallas Symphony; a Concerto for Orchestra; three Piano Concertos; and Concertos for many other instruments. In the realm of chamber music, Mr. Liebermann has composed five string quartets – the two most recent for the Orion and Emerson Quartets respectively; four Cello Sonatas; three Piano Trios; Sonatas for Flute, Violin, Viola, Flute and Harp; and works for many other combinations. Sir James Galway has commissioned three works from Mr. Liebermann: the Concerto for Flute and Orchestra, the Concerto for Flute, Harp and Orchestra , and Trio No. 1 for Flute, Cello and Piano. Sir James premiered the Flute Concerto in 1992 with the St. Louis Symphony and the double concerto with the Minnesota Orchestra in 1995.

  • Cover Title (Subtitle) Duration Instrumentation
    16993 Miss Lonelyhearts
    Opera in Two Acts
    2:00:00 2(dbl. Picc.) 2(dbl.E.H.) 2(dbl.B.Cl.) 2(dbl.Cbsn.) – 2 2 3 0; Timp. 5Perc. Kbd. Hp. Str., Pre-recorded Jazz Band
    16719 The Picture of Dorian Gray
    Opera in Two Acts
    2:00:00 3 3 3 3 – 4 3 3 0; Timp. Perc. Hp. Str. On-stage Upright Piano, Off-stage Violin
    23605 The Picture of Dorian Gray
    Opera in Two Acts (Reduced Orchestration)
    2:00:00 2(Picc.) 2 2(B.Cl.) 2 – 2 2 1 0; Timp. Perc. Hp. Kbd, Str.; On-stage Upright Piano, Off-stage Violin
    21775 Barcarolles for a Sinking City
    15:00 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3 1; 4Perc. Hp. Str.
    10152 Concerto for Orchestra
    30:00 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3 1: Timp. 5Perc. Pno.(dbl. Cel.) Hp. Str.
    13023 The Domain of Arnheim
    16:00 2 2 2 2 – 2 2 1 0; 2Perc. Pno. Cel. Hp. Str. (Min. 8 7 6 4 2)
    10070 Dorian Gray: A Symphonic Portrait
    Arranged from the opera “The Picture of Dorian Gray”, Op. 45
    25:00 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3 0; Timp. 3Perc. Cel. Hp. Str.
    10451 Loss of Breath
    for Orchestra
    15:00 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3 1; Timp. 4Perc. Hp. Pno. Cel. Str.
    10171 Nocturne
    8:35 3(Picc.) 2 3(E.H.) 3(Cbsn.) – 4 3 3 0; Timp. 4Perc. Hp. Str.
    10138 Pegasus
    for Amplified Narrator and Orchestra
    20:00 Amplified Narrator; 3(Picc.) 2 2 3(Cbsn.) – 4 3 3 1; Timp. 4Perc.(incl. whoopee cushions) Cel. Org. Theremin(opt.) Hp. Str.
    13024 Revelry
    for Orchestra
    7:00 3(Picc.) 2 2 2 – 4 3 3 1; Timp. 3Perc. Str.
    13026 Symphony No. 1
    45:00 3(Picc.) 3(E.H.) 2(Picc.Cl./B.Cl.)- 4 4 3(B.Tbn.) 1; Timp. Perc. Pno.(Cel.) Hp. Str.
    16201 Symphony No. 2
    Text adapted by the composer from the poems of Walt Whitman.
    45:00 SATB Chorus; 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3 1; Timp. 4Perc. Pno. Cel. Org. Hp. Str.; opt. Brass Band: 3Tpt. 3Tbn.
    17487 Symphony No. 3
    21:00 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.)
    10141 Variations on a Theme of Mozart
    20:00 4(2Picc.) 3(E.H.) 4(B.CL.) 3(Cbsn.) – 4 3 3 1; Timp. 4Perc. Pno.(Cel.) Hp. Str.
    17465 The Velveteen Rabbit
    for 15 Players or Chamber Orchestra with optional Narrator
    31:00 Narr.(opt.); 1 1 1 1 – 1 1 1 0; 2Perc. Pno. Str. ( or larger)
    Orchestra w/ Soloist(s)
    13025 6 Ges
    for Soprano and Orchestra
    25:00 Solo Sop.; 2 2 2 2 – 2 2 0 0; Timp. Perc. Pno.(Cel.) Hp. Str.
    21747 Air
    for Flute and Orchestra
    10:00 Solo Fl.; 2 2 2 2 – 2 0 0 0; Timp. 2Perc. Hp. Str.
    23620 Concerto for Cello and Orchestra
    26:00 Solo Vcl.; 2(2 dbl. Picc.) 2(2 dbl. E.H.) 2 2 – 2 2 1 0; Timp. 3Perc. Pno.(dbl. Cel.) Hp. Str.
    17353 Concerto for Clarinet
    32:00 Solo Cl.; 3(Picc.) 2 0 2 – 2 2 2 1; Timp. 2Perc. Hp. Pno.(dbl. Cel.) Str.
    13017 Concerto for Flute and Orchestra
    25:00 Solo Fl.; 2 2 2 2 – 2 2 0 0; Timp. Perc. Pno. Hp. Str.
    13018 Concerto for Flute, Harp and Orchestra
    20:00 Fl. Hp. soli; 0 2 0 0 – 2 0 0 0; Timp. Marim. Vibr. Pno.(Cel.) Str.
    13019 Concerto for Piccolo and Orchestra
    25:00 Solo Picc.; 2 2 2 2 – 2 2(in C) 0 0; Timp. Perc. Pno. Hp. Str.
    10048 Concerto for Trumpet and Orchestra
    23:00 Solo Tpt.; 3(dbl. Picc.) 3(dbl.E.H.) 3(B.Cl.) 3(Cbsn.) – 4 2 3 0; 2Perc. Pno.(Cel.) Hp. Str.
    10140 Concerto for Violin and Orchestra
    25:00 Solo Vln.; 3(Picc) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3 1: Timp. 4Perc. Pno.(dbl. Cel.) Hp. Str.
    13021 Concerto No. 1 for Piano and Orchestra
    20:00 Solo Pno.; 3 3 3 3 – 4 3 3 1; Timp. Perc. Str.
    13022 Concerto No. 2 for Piano and Orchestra
    30:00 Solo Pno.; 3 2 3 3 – 4 3 3 1; Timp. 3Perc. Cel. Hp. Str.
    17039 Concerto No. 3 for Piano and Orchestra
    34:00 Solo Piano; 2(Picc.) 2 2 2(Cbsn.) – 2 2 3 0; Timp. 4Perc. Hp. Str.
    10722 Divertimento
    for Viola and String Orchestra(arr.)
    8:30 Solo Vla.; Str.
    10027 Kontrapunktus
    for 5 Japanese Drums and Orchestra
    15:00 3(Picc.) 3(E.H.) ,3(B.Cl.) 3(Cbsn.) – 4 3 3 0; Timp. 4Perc. 5 Japanese Drums. Str.
    10139 Rhapsody on a Theme of Paganini
    for Piano and Orchestra
    20:00 Solo Pno.; 3(Picc.) 2 2 2 – 4 2 3 0; Timp. 3Perc. Str.
    Band / Wind Ensemble
    17440 Concerto for Flute and Orchestra
    Transcription for Winds by Brian Shaw, revised by the composer.
    25:00 Solo Fl.; Solo Cl., Picc., Ob., E.H., E-flat Cl., 3Cl., B.Cl., 2Bsn. Cbsn. – 4Hn., 2Tpt., 2Tbn., Tu.; Timp., 2Perc., Pno., Hp., Cb.
    15574 Paean
    for Wind Band
    13:00 4(Picc. Al.Fl) 2(E.H.) 5(Eb Cl. B.Cl.) 2, A.Sax. T.Sax B.Sax – 4 3 3 1. Euph.; 2Perc. Pno. Hp. Cb.
    17400 Variations on a Theme of Schubert
    for Wind Ensemble
    3(Picc.) 2 5(B.Cl., Cb.Cl.) 2, 2A.Sax. Ten.Sax. Bar.Sax. – 4 3 3 1, Euph.; Timp. Perc. Pno. Hp. Cb.
    Chamber Ensemble
    114-41374 Air
    For Flute and Organ
    10:00 Flute, Organ
    114-41605 Elegy
    For Clarinet and Piano
    8:00 Clarinet, Piano
    114-40520 Chamber Concerto No. 1
    For Violin, Piano and String Quartet
    18:00 Violin, Piano, String Quartet
    114-41422 Chamber Concerto No. 2
    For Violin and String Quintet
    12:00 String Quintet
    114-40929 Eight Pieces
    For Bass Flute Or Alto Flute Or C Flute Or Piccolo (Flutes May Be Mixed At The Performer’s Discretion)
    11:00 Bass Flute Or Alto Flute Or C Flute Or Piccolo (Flutes May Be Mixed At The Permer’s Discretion)
    114-41683 Elegy
    For Flute And Piano
    8:00 Flute, Piano
    114-41537 Fantasy
    For Solo Bass-Koto
    12:00 Solo Bass-Koto
    114-40519 Fantasy On A Fugue By J.S. Bach
    For Woodwind Quintet and Piano
    12:00 Woodwind Quintet
    114-41142 Five Pieces
    From Album for The Young
    114-41606 Ice Music
    For Flute, Clarinet, Violin, Cello and Percussion
    20:00 Chamber Ensemble
    114-41375 Night Music
    For Flute, Clarinet, and Piano
    13:00 Woodwind Trio
    114-41045 Nocturne-Fantasy
    For Two Guitars
    12:30 Guitar Duet
    114-41602 Piano Trio No. 3
    For Violin, Cello, and Piano
    16:00 Piano Trio
    111-40139 A Poet To His Beloved
    For Tenor, Flute, String Quartet and Piano
    15:00 Tenor, Flute, String Quartet, Piano
    114-41519 Quartet for Piano and Strings
    For Piano, Violin, Viola and Cello
    15:00 Piano Quartet
    114-40615 Quintet
    For Piano, Clarinet and String Trio
    25:00 Piano, Clarinet, String Trio
    114-40640 Quintet
    For Piano and Strings
    30:00 Piano Quintet
    114-40863 Sonata
    For Contrabass and Piano
    25:00 Contrabass, Piano
    114-40610 Sonata
    For Flute and Guitar
    12:00 Flute, Guitar
    114-40899 Sonata
    For Flute and Harp
    15:00 Flute, Harp
    114-40463 Sonata
    For Flute and Piano
    13:30 Flute, Piano
    114-40468 Sonata
    For Viola and Piano
    27:30 Viola, Piano
    114-40767 Sonata
    For Violin and Piano
    13:00 Violin, Piano
    114-41031 Sonata No.1
    For Cello and Piano
    9:00 Cello, Piano
    114-41040 Sonata No. 2
    For Violoncello and Piano
    15:00 Cello, Piano
    114-41294 Sonata No. 3
    (Sonata Semplice), for Cello and Piano
    16:00 Cello, Piano
    114-41423 Sonata No. 4
    For Violoncello and Piano
    13:00 Cello, Piano
    114-40722 String Quartet No. 1
    15:00 String Quartet
    114-41038 String Quartet No. 2
    30:00 String Quartet
    114-41424 String Quartet No. 3
    16:00 String Quartet
    13028 Three Poems of Stephen Crane
    for Baritone, String Orchestra, 2 Horns and Harp
    10:00 Bar., 2 Hn., Str., Hp.
    114-41724 Trio
    For Bb Clarinet, Viola, And Piano
    Mixed Trio
    114-41426 Trio
    For French Horn, Violin, and Piano
    16:00 Piano Trio
    114-41253 Trio No. 1
    For Flute, Cello, and Piano
    25:00 Flute, Cello, Piano
    114-40616 Trio No.1
    For Violin, Cello, and Piano
    14:00 Piano Trio
    114-41255 Trio No. 2
    For Flute, Cello and Piano
    22:00 Piano Trio
    114-41256 Trio No. 2
    For Violin, Cello and Piano
    16:00 Piano Trio
    114-40687 Two Pieces
    for Violin and Viola
    8:00 String Duet
    114-41604 Music for Harp
    For Solo Harp
    15:00 Solo Harp
    114-40732 Soliloquy
    For Solo Flute
    5:00 Flute
    410-41300 Album for The Young
    For Piano
    15:00 Piano
    410-41344 Complete Nocturnes
    113-40035 De Profundis
    For Organ
    8:00 Organ
    410-41292 Four Apparitions
    For Piano
    13:00 Piano
    110-41786 Four Etudes On Brahms Songs
    For Piano Solo
    10:00 Piano
    110-41788 Four Etudes On Songs Of Robert Franz
    For Piano Solo
    10:00 Piano
    410-41289 Gargoyles
    For Piano
    13:00 Piano
    110-41776 Music for Carillon
    For Carillon
    13:00 Carillon
    110-40679 Nocturne No. 1
    For Piano
    7:00 Piano
    110-40715 Nocturne No. 2
    For Piano
    7:00 Piano
    110-40700 Nocturne No. 3
    For Piano
    6:30 Piano
    110-40703 Nocturne No. 4
    For Piano
    6:00 Piano
    110-40724 Nocturne No. 5
    For Piano
    7:00 Piano
    110-40736 Nocturne No. 6
    For Piano
    8:00 Piano
    110-40738 Nocturne No. 7
    For Piano
    6:00 Piano
    110-40761 Nocturne No. 8
    For Piano
    8:00 Piano
    110-41774 Nocturne No. 9
    For Piano
    7:00 Piano
    110-41775 Nocturne No. 10
    For Piano
    6:00 Piano
    110-41787 Nocturne No. 11
    For Piano
    6:30 Piano
    410-41305 Piano Sonata No.1
    11:00 Piano
    410-41293 Piano Sonata No. 2
    Sonata Notturna
    14:00 Piano
    410-41337 Piano Sonata No. 3
    16:00 Piano
    110-41800 Sonata
    For Two Pianos
    20:00 2 Pianos 4 Hands
    110-40740 Three Impromptus
    For Piano
    10:00 Piano
    110-40759 Three Lullabies
    For Two Pianos
    17:00 Two Pianos
    110-41820 Two Impromptus
    410-41275 Variations On A Theme By Anton Bruckner
    For Piano
    13:30 Piano
    110-41789 Variations on a Theme of Schubert
    For Piano
    10:00 Piano
    110-41768 Variations on America by Charles Ives
    For Piano(arr.)
    7:00 Piano
    411-41102 Appalachian Liebeslieder
    For Soprano, Baritone, and Piano Duet
    18:30 Soprano, Baritone, Piano Duet
    111-40202 Final Songs
    For Baritone and Piano
    10:00 Baritone, Piano
    111-40207 Night Songs
    For High Voice and Piano
    6:00 Voice with Piano
    111-40206 Night Songs
    For Low Voice and Piano
    6:00 Voice with Piano
    111-40199 On The Beach At Night
    For Voice and Piano
    8:00 Voice, Piano
    111-40136 Out of the Cradle Endlessly Rocking
    For Mezzo and String Quartet
    15:00 Mezzo, String Quartet
    111-40197 A Poet To His Beloved
    For Tenor, Flute, String Quartet and Piano
    15:00 Tenor, Flute, String Quartet, Piano
    111-40164 Six Songs On Poems Of Henry W. Longfellow
    For Voice and Piano
    20:00 Voice, Piano
    111-40227 Six Songs On Poems Of Nelly Sachs
    for Soprano and Orchestra
    25:00 Voice with Piano
    111-40204 Six Songs On Poems Of Raymond Carver
    For Baritone and Piano
    15:00 Baritone, Piano
    111-40234 Stopping By Woods On A Snowy Evening
    For Low Voice and Piano
    15:00 Low Voice
    111-40165 Struwwelpeterlieder
    For Soprano, Viola, and Piano
    10:00 Vocal Ensemble
    111-40174 Three Dream Songs
    For Voice and Piano
    6:00 Voice, Piano
    111-40232 War Songs
    For Bass Voice and Piano
    15:00 Bass Voice, Piano
    114-41608 Four Seasons
    For Mezzo-Soprano, Clarinet and Piano Quartet
    22:00 Vocal Ensemble
    312-41759 Missa Brevis
    For S.A.T.B. Chorus, Tenor and Baritone Soloists, and Organ
    13:00 S.A.T.B. Chorus, Tenor, Baritone Soloists,, Organ
    312-41777 Three Elizabethan Songs
    For S.A.T.B. Chorus, A Cappella
    5:00 SATB
    312-41734 Two Choral Elegies
    For S.A.T.B. Chorus, A Cappella
    6:00 SATB

  • …one of the most significant figures in American music of our time.
    –Wayne Lee Gay, D Magazine (Dallas)

    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

    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

    …continues to please audiences with his rhapsodic, well-crafted music.
    — , www.classicalcdreview.com

    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

    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.
    –Washington Post

    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.
    –Claire 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

    …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

    As a pianist, Lowell Liebermann writes expertly and sensitively for the instrument—the music is surely challenging but also sounds like it’s great fun to play. He has always balanced traditional gestures and formal designs with a personal style that is novel but remains tuneful and harmonious. There’s not a dull moment in any of this music…

    –Haskins, American Record Guide

    …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

    …captivating … [Liebermann’s] clarinet concerto is not predictable, and he does not write himself into a corner. When chord sequences descended into mysterious dark abysses more than once, the clarinet arose and joyfully resurrected the piece. Melancholy? Maybe. Frustrating? No.
    –Julie Hamann, Sioux City Journal

    …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

    …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.

    …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

    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, Wisonsin State Journal

    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, cvnc.com

    Liebermann is a flautist’s dream composer.
    –Kate Sheriff, BBC Music Magazine

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

    …lyrically beautiful, frightfully virtuosic…an attractive work.
    –Jim Lowe, Times Argus (Barre-Montpelier, VT)

    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, Wall St. 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, Washington Post

    …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.

    …It fully deserved the standing ovation it received.
    –Suzanne Weiss, Pioneer Press

    …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

    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, 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

    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

    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

    …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

    for Clarinet and Piano
    Liebermann’s “Elegy” begins with the clarinet’s beautiful melodic line accompanied by the piano’s (sometimes polytonal) tranquil, floating eighth notes… Not a piece for beginners, but very effective for a clarinetist who has mastered the highest register. Liebermann’s “Elegy”…is an important addition to the clarinet and piano repertoire.
    –Mikko Raasakka, The Clarinet

    for Flute and Piano
    [This] transcription for flute and piano features the hallmarks of Liebermann’s expert writing for flute. … The work is lyric and haunting.
    –Flute Talk

    The Elegy for Flute and Piano is immediately recognizable as the work of Lowell Liebermann. Its long, arching, haunting melodic line is reminiscent of the first movement of the composer’s popular Sonata for Flute and Piano, though this piece is accessible to performers who may not feel prepared to tackle the Sonata’s technical aspects.
    –Timothy Hagen, The Flutist Quarterly

    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, Sacromento Bee

    I can think of no American composer who invests the traditional materials of music with the combination of originality and consistent expertise that Lowell Liebermann does. … he is attached to the trunk of a musical tree that has been sending out new branches for centuries and remains far from exhausted. … Right from the opening movement one is struck by the composer’s finesse in employing the assembled forces, prizing clarity in his instrumental textures.
    –James M. Keller, Pasatiempo

    [“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

    …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

    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, musicalamerica.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 [“Miss. 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

    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 Ellen 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)

    …a gorgeous piece of music … refreshingly tonal, melodically beautiful…
    –F. Cord Volkmer, East Hampton Press

    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

    …unutterably lovely.
    –Mike Greenberg, San Antonio Express News

    The piece is exquisite.
    –Diane Windeler, San Antonio Light

    …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

    …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

    …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, Seattle Times

    …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

    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

    …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

    [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

    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. Bidner, Nashua Telegraph

    An energetic orchestral showpiece with flashes of brilliance, it put the orchestra through its paces.
    –Francis Brancaleone, Gannett Newspapers

    One of the finest pieces I’ve heard among American concertos.
    –Indianapolis Star

    …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

    …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…
    –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

    …one of his finest works.
    –Lawrence Budmen, South Florida Classical Review

    …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

    SONATA NO. 3
    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

    SONATA NO. 4
    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

    …imaginative, shimmering score … scintillating…
    –Janelle Gelfand, The Enquirer, Cincinatti

    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, Philadelphia Inquirer

    It’s a beautiful piece … He’s a very lyrical composer, and there’s a beautiful singing section. But there’s also some pretty dramatic stuff and also a fleet-footed section in the middle … it’s very well written for the string quartet.
    –Paul Watkins, quoted in , Ann Arbor News

    …powerful … beautiful in sonic conservativism and with more color than most Shostakovich chamber music (plus zero sarcasm).
    –David Moran, Boston Music Intelligencer

    Liebermann’s quartet is a marvel of a composition — expertly crafted in one continuous movement yet written in a musical language that conveys a powerful emotional intensity.
    –Aaron Keebaugh, Boston Classical Review

    …utterly idiomatic string writing … Even the melancholy is refined and polished…
    –David Weininger, Boston Globe

    …a strong, compelling and powerfully communicative work.
    –Lawrence A. Johnson, Chicago Classical Review

    Mr. Liebermann’s First Symphony speaks with a distinctive voice and uses the orchestra’s traditional formats with confidence.
    –Bernard Holland, New York Times

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

    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

    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

    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, New York Times

    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.

    …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

    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

    …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 Fransisco 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

    TRIO NO. 1
    …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
    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

    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

    …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

  • Piccolo Concertos PICCOLO CONCERTOS
    Brilliant Classics (95436); November 1, 2016
    Performer(s): Nicola Mazzanti, piccolo; Haydn Orchestra of Bolzano and Trento, Marco Angius, conductor
    Work(s): Concerto for Piccolo and Orchestra, Op. 50
    Lowell Liebermann: Complete Works for Two Pianos LOWELL LIEBERMANN: COMPLETE WORKS FOR TWO PIANOS
    Albany Records (TROY1596); October 1, 2015
    Performer(s): 88squared Piano Duo
    Work(s): Daydream and Nightmare for Two Pianos, Eight Hands, Op. 94
    Sonata for Two Pianos, Op. 117
    Three Lullabies for Two Pianos, Op. 76
    Variations on a Theme by Mozart for Two Pianos, Op. 42
    Transfigured Brahms TRANSFIGURED BRAHMS
    Haenssler (CD98.051); September 11, 2015
    Performer(s): Petronel Malan, piano
    Work(s): Four Etudes on Brahms Songs, Op. 88
    Solitude SOLITUDE
    Delos Music (DE3447); August 1, 2015
    Performer(s): Stefán Ragnar Höskuldsson, flute, Michael McHale, piano
    Work(s): Sonata for Flute and Piano, Op. 23
    American Tapestry: Duos for Flute and Piano AMERICAN TAPESTRY: DUOS FOR FLUTE AND PIANO
    Bridge Records (9411); May 1, 2014
    Performer(s): Susan Rotholz, flute; Margaret Kampmeier, piano
    Work(s): Sonata for Flute and Piano, Op. 23
    Five Pieces from Album of the Young FIVE PIECES FROM ALBUM OF THE YOUNG
    Koch International Classics (KIC-CD-7549); January 1, 2009
    Performer(s): Alexa Still, flute David Korevaar, piano
    Work(s): Five Pieces from Album for the Young, Op. 79
    Music from Raritan River MUSIC FROM RARITAN RIVER
    MSR Classics (1298); October 1, 2008
    Performer(s): Newman-Oltman Guitar Duo
    Work(s): Nocturne Fantasy, Op. 69
    Lowell Liebermann: Quintets; Six Songs LOWELL LIEBERMANN: QUINTETS; SIX SONGS
    Koch International Classics (KIC-CD-7743); July 22, 2008
    Performer(s): David Korevaar/Piano, Jon Manasse/Clarinet, Patrick Mason/Baritone, et al.
    Work(s): Quintet for Piano and Strings, Op. 34
    Quintet for Piano, Clarinet and String Trio, Op. 26
    Six Songs on Poems by Raymond Carver, Op. 80
    American Viola Works AMERICAN VIOLA WORKS
    Cedille Records (CDR90000 053); March 1, 2007
    Performer(s): Cathy Basrak, viola and William Koehler, piano
    Work(s): Sonata for Viola and Piano, Op. 13
    Debut: Chamber Music of Lowell Liebermann DEBUT: CHAMBER MUSIC OF LOWELL LIEBERMANN
    ARTEK Recordings (AR-0034-2); February 27, 2007
    Performer(s): Trio Fedele
    Work(s): Trio No. 1 for Flute, Cello and Piano, Op. 83
    Trio No. 2 for Flute, Cello and Piano, Op. 87
    Chamber Music of Lowell Liebermann CHAMBER MUSIC OF LOWELL LIEBERMANN
    Albany Records (TROY684); September 28, 2004
    Performer(s): William Terwilliger, violin Andrew Cooperstock, piano Ying Quartet (Op. 28)
    Work(s): Chamber Concerto No. 1
    Trio for Piano, Violin and Cello, Op. 32
    Trio No. 2 for Piano, Violin and Cello, Op. 77
    Two Pieces for Violin and Viola, Op. 4
    Songs of Lowell Liebermann SONGS OF LOWELL LIEBERMANN
    Arabesque Records (No. Z6770); April 6, 2004
    Performer(s): Robert White, tenor and Lowell Liebermann, piano
    Work(s): Final Songs, Op. 21
    Night Songs, Op. 22
    Out Of The Cradle Endlessly Rocking, Op. 41
    Six Songs on Poems by Henry W. Longfellow
    Three Dream Songs
    Lowell Liebermann: Piano Music, Volume 1 LOWELL LIEBERMANN: PIANO MUSIC, VOLUME 1
    Koch International Classics (3-7548-2 HI); July 22, 2003
    Performer(s): David Korevaar, piano
    Work(s): Four Apparitions, Op. 17
    Nocturne No. 1, Op. 20
    Nocturne No. 2, Op. 31
    Nocturne No. 3, Op. 35
    Nocturne No. 4, Op. 38
    Nocturne No. 5, Op. 55
    Nocturne No. 6, Op. 62
    Nocturne No. 7, Op. 65
    Three Impromptus, Op. 68
    Lowell Liebermann: Complete Chamber Music for Flute LOWELL LIEBERMANN: COMPLETE CHAMBER MUSIC FOR FLUTE
    Koch International Classics (KIC-CD-7549); July 21, 2003
    Performer(s): Alexa Still/Fl.; David Korevaar/Pno.; Franco Platino/Gtr.; Victoria Drake/Harp.; Curt Peterson/Ten.
    Work(s): A Poet To His Beloved, Op. 40
    Album for the Young, Op. 43
    Sonata for Flute and Guitar, Op. 25
    Sonata for Flute and Harp, Op. 56
    Lara Downes: Reform LARA DOWNES: REFORM
    Azica Records (ACD71213); May 13, 2003
    Performer(s): Lara Downes, piano
    Work(s): Nocturne No. 4, Op. 38
    Inflorescence II - Music for Solo Flute INFLORESCENCE II – MUSIC FOR SOLO FLUTE
    Cantilena Records (No. 21); April 1, 2003
    Performer(s): Laurel Zucker, flute
    Work(s): Eight Pieces, Op. 59
    Gentle Dreams: 20th Century Flute Music GENTLE DREAMS: 20TH CENTURY FLUTE MUSIC
    Denon Records (COCQ-83421); January 1, 2001
    Performer(s): Ayako Takagi, flute
    Work(s): Sonata for Flute and Piano, Op. 23
    Liebermann: Symphony No. 2; Concerto for Flute and Orchestra LIEBERMANN: SYMPHONY NO. 2; CONCERTO FOR FLUTE AND ORCHESTRA
    Delos International (DE3256); October 24, 2000
    Performer(s): Eugenia Zuckerman, flute with Dallas Symphony Orchestra, Andrew Litton, conductor
    Work(s): Concerto for Flute and Orchestra, Op. 39
    Symphony No. 2, Op. 67
    American Interweave: New Music for Cello and Piano AMERICAN INTERWEAVE: NEW MUSIC FOR CELLO AND PIANO
    Ambassador (ARC1022); November 23, 1999
    Performer(s): Rajan Krishnaswami, cello and Mark Salman, piano
    Work(s): Sonata No. 1 for Violoncello and Piano, Op. 3
    James Galway plays Lowell Liebermann JAMES GALWAY PLAYS LOWELL LIEBERMANN
    RCA Victor Red Seal (No. 09026632352); October 13, 1998
    Performer(s): James Galway, flute and Hyun-Sun Na, harp with London Mozart Players, Lowell Liebermann, conductor
    Work(s): Concerto for Flute, Harp, and Orchestra, Op. 48
    Concerto for Piccolo and Orchestra, Op. 50
    Piano Concertos PIANO CONCERTOS
    Hyperion Records (CDA66966); June 10, 1997
    Performer(s): Stephen Hough, piano with BBC Scottish Symphony Orchestra, Lowell Liebermann, conductor
    Work(s): Concerto No. 1 for Piano and Orchestra, Op. 12
    Concerto No. 2 for Piano and Orchestra, Op. 36
    1996 Texas Music Educators Association 1996 TEXAS MUSIC EDUCATORS ASSOCIATION
    Mark Masters (TMEA96MCD3); February 15, 1996
    Performer(s): West Texas A&M Symphonic Band, Gary Garner, conductor
    Work(s): Paean for Wind Band, Op. 49
    Bernstein / Smaldone / Danielpour / Liebermann BERNSTEIN / SMALDONE / DANIELPOUR / LIEBERMANN
    New World Records (No. 80426); January 1, 1992
    Performer(s): Michael Boriskin, piano.
    Work(s): Gargoyles, Op. 29
    Damien Pardoen and Stéphane De May DAMIEN PARDOEN AND STÉPHANE DE MAY
    Fibonacci Productions (FIBO-002); January 2, 1990
    Performer(s): Damien Pardoen, violin and Stéphane De May, piano
    Work(s): Sonata for Violin and Piano No. 1, Op. 46
    Lowell Liebermann: Soliloquy, Opus 44 LOWELL LIEBERMANN: SOLILOQUY, OPUS 44
    Opus One Recordings (No. 169); January 2, 1990
    Performer(s): Katherine Kemler, flute
    Work(s): Soliloquy, Op.44
    Piano Sonatas Nos. 1 & 2, Nocturne No. 1, Four Apparitions, Variations on a Theme by Anton Bruckner PIANO SONATAS NOS. 1 & 2, NOCTURNE NO. 1, FOUR APPARITIONS, VARIATIONS ON A THEME BY ANTON BRUCKNER
    Musical Heritage Society (MHS 512647Y)
    Performer(s): David Korevaar, piano
    Work(s): Piano Sonata No. 1, Op. 1
    Piano Sonata No. 2 (“Sonata Notturna”) Op. 10
    Variations On A Theme By Anton Bruckner, Op. 19

  • 2014: Virgil Thomson Award of the American Academy and Institute of Arts and Letters
    2014: Concert Artists Guild Award for Excellence in the Arts
    2001: First American Composers
    1998: Grammy Award nomination for Best Contemporary Classical Composition for Piano Concerto No. 2
    Charles Ives Fellowship from the American Academy and Institute of Arts and Letters