Academic journal article Notes

Piano Sonata No. 1, Op. 1 (1977)/Concerto No. 1 for Piano and Orchestra, Op. 12 [1983]/Four Apparitions for Piano, Op. 17 [1985]/Nocturne No. 2 for Piano, Op. 31 (1991)/Nocturne No. 5 for Piano, Op. 55 (1996)/Nocturne No. 6 for Piano, Op. 62 [1998]/Nocturne No. 7 for Piano, Op. 65 [1999]/Three Impromptus for Piano, Op. 68 [2000]/Variations on a Theme by Mozart for Two Pianos, Op. 42 [1993]

Academic journal article Notes

Piano Sonata No. 1, Op. 1 (1977)/Concerto No. 1 for Piano and Orchestra, Op. 12 [1983]/Four Apparitions for Piano, Op. 17 [1985]/Nocturne No. 2 for Piano, Op. 31 (1991)/Nocturne No. 5 for Piano, Op. 55 (1996)/Nocturne No. 6 for Piano, Op. 62 [1998]/Nocturne No. 7 for Piano, Op. 65 [1999]/Three Impromptus for Piano, Op. 68 [2000]/Variations on a Theme by Mozart for Two Pianos, Op. 42 [1993]

Article excerpt

KEYBOARD MUSIC Lowell Liebermann. Piano Sonata no. 1, op. 1 (1977). Bryn Mawr, PA: Theodore Presser, c1999. [Score, 10 p. Pub. no. 110-41305. Duration, ca. 11 min. $10.]

Lowell Liebermann. Concerto no. 1 for Piano and Orchestra, op. 12 [1983]. Solo piano and piano reduction. Bryn Mawr, PA: Theodore Presser, c1998, 1989. [Notes, p. 2; two-piano score, p. 3-61. Pub. no. 410-41286. Duration, ca. 19 ½ min. $40.]

Lowell Liebermann. Four Apparitions for Piano, op. 17 [1985]. Bryn Mawr, PA: Theodore Presser, c1993. [Score, 12 p. Pub. no. 410-41292. Duration, ca. 13 min. $6.50.]

Lowell Liebermann. Nocturne No. 2 for Piano, op. 31 (1991). Bryn Mawr, PA: Theodore Presser, c1996. [Score, 7 p. Pub. no. 110-40715. Duration, ca. 7 min. $5.95.]

Lowell Liebermann. Nocturne No. 5 for Piano, op. 55 (1996). Bryn Mawr, PA: Theodore Presser, c2000. [Notes, p. 2; score, p. 3-8. Pub. no. 110-40724. Duration, ca. 7 min. $6.]

Lowell Liebermann. Nocturne No. 6 for Piano, op. 62 [1998]. [King of Prussia, PA]: Theodore Presser, c2001. [Notes, p. 2; score, p. 3-8. Pub. no. 110-40736. Duration, ca. 8 min. $6.]

Lowell Liebermann. Nocturne No. 7 for Piano, op. 65 [1999]. [King of Prussia, PA]: Theodore Presser, c2001. [Notes, p. 2; score, p. 3-8. Pub. no. 110-40738. Duration, ca. 6 min. $6.]

Lowell Liebermann. Three Impromptus for Piano, op. 68 [2000]. King of Prussia, PA: Theodore Presser, c2001. [Notes, p. 2; score, p. 3-14. Pub. no. 110-40740. Duration, ca. 10 min. $10.95.]

Lowell Liebermann. Variations on a Theme by Mozart for Two Pianos, op. 42 [1993]. Bryn Mawr, PA: Theodore Presser, c2000. [Notes, 1 p.; score, 41 p. Pub. no. 410-41322. Duration, ca. 20 min. $27.50.]

The piano works of American composer Lowell Liebermann (b. 1961) are significant and poetic additions to the keyboard repertoire. One of the most successful composers of his generation, Liebermann is also controversial, especially in "progressive" musical circles. His music is mostly tonal, beautiful, and-unforgivable to some critics and academics-popular and accessible (see, for example, K. Robert Schwarz's essay "Bringing Tonality, and Fans, to Contemporary Music" [New York Times, 31 January 1999, late edition, final, sec. 2]).

A native of New York City, Liebermann received his bachelor's (1982), master's (1984), and doctoral degrees (D.M.A., I9H7) from the Juilliard School, studying composition there with David Diamond and Vincent Persichetti, and piano with Jacob Lateiner. In 1998, he was appointed composer-in-residence with the Dallas Symphony Orchestra. Liebermann has received numerous prizes and commissions, and recordings of his works have won critical praise and awards. He is one of the few contemporary composers whose works receive multiple recordings by different artists-his Sonata for Flute and Piano, op. 23 (1987), for instance, has been commercially recorded at least twelve separate times and is frequently programmed on flute recitals.

Liebermann is often categorized as a postmodern tonalist or neoromantic, but such pigeonholing can diminish the distinctive qualities and traits of such an individual composer. His works maintain a strong sense of structural and emotional balance and proportion. The ability to write beautiful, soaring, and memorable melodies attests to his great lyric affinity. He can also compose driving, passionate music constructed on motivic development. Throughout his music, Liebermann makes imaginative use of a rich and varied harmonic and lextural palette, and he often demands superior technical ability from his performers.

Liebermann's works for piano 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 connection to the real-world possibilities and limitations (and joy) of music-making is essential to the art and craft of composition. …

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