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Transcript of Lowell Liebermann
design by Dóri Sirály for Prezi
b. 1961 in New York City
pianist (8), composer (14), conductor
performed his own Piano Sonata No.1 at the age of 16 in Carnegie Hall
studied at Julliard with David Diamond and Vincent Persichetti
composer in residence for the Dallas Symphony Orchestra for 4 years
Writes in silence and isolation from outside influences
Uses whatever language fits the motives or ideas
Against the academic system of “making music sound modern”
Writes for each instrument organically
Music for should encourage imagination and be accessible and enjoyable to all involved
Paean for Wind Band, Op. 49 (1995)
- Commissioned by West Texas A&M University, Gary Garner conducted premier at TMEA in 1996
Variations on a Theme of Schubert, Op. 92 (2005)
- Commissioned by the Williamsville Commissioning Consortium, premier conducted by Liebermann in 2006
Concerto for Flute and Orchestra, Op. 39 (1992)
, arranged for band by Brian Shaw (2009) -Commissioned and premiered by James Galway, premier orchestra was St. Louis Symphony conducted by Leonard Slatkin in 1992; orchestrated for wind band by Brian Shaw in 2009
Works for Wind Ensemble
Symphony No. 2
Rhapsody on a Theme of Paganini
Variations on a Theme of Mozart
Concerto for Orchestra
Gargoyles for Piano
The Picture of Dorian Gray
Augmented triads, synthetic scales, octatonic and diminished scales
Mediant, tritone, distant key relationships
Major/minor ambiguous tonality, twelve tone
Traditional compositional techniques (augmentation, diminution, etc.)
Early period more contrapuntal
Second period (*Flute Sonata and after) more harmonic
Mislabeled as "Neo-Romantic" or Impressionist
Works for Winds
Concerto for Piccolo and Orchestra
Concerto for Flute and Orchestra
Concerto for Flute, Harp, and Orchestra
Concerto for Clarinet and Orchestra
Concerto for Trumpet and Orchestra
Fantasy on a Fugue by J.S. Bach for Flute, Oboe, Clarinet, Horn, Bassoon and Piano
Sonata for Flute and Guitar
Sonata for Flute and Piano
“I was concerned with writing a kind of optimistic music, to put it in the simplest way. A lot of modern music and, in fact a lot of modern art, is characterized by either some kind of multicultural cynicism or the unspoken stance that something had to be dark or unpleasant to be profound. It has almost become a challenge in this century to write optimistic art that's not corny, or sentimental, or a regurgitation of the past. My works were aiming towards that direction.”
Garner, Lisa M. “Lowell Liebermann: A Stylistic Analysis and Discussion of the Sonata for Flute and Piano, Op. 23, Sonata for Flute and Guitar, Op. 25, and Soliloquy for Flute Solo, Op. 44.” Diss. Rice University, 1997. ProQuest Digital Dissertations. Web 23 April 2014.
Kevles, Barbara. “Lowell Liebermann: A New "Tonalist" Thrives on Old Harmonies.” American Record Guide; Mar 2003; 66, 2; International Index to Music Periodicals Full Text. JSTOR. Web. 26 April 2014.
" ." ::LOWELL LIEBERMANN. N.p., n.d. Web. 04 May 2014. <http://www.lowellliebermann.com/>.
"LOWELL LIEBERMANN." Welcome to Presser Online. N.p., n.d. Web. 04 May 2014. <http://www.presser.com/composers/info.cfm?Name=LOWELLLIEBERMANN#Works>.
Reel, J. (2004, 01). “A Conversation with Lowell Liebermann.” Fanfare - the Magazine for Serious Record
Collectors, 27, 31-32, 34, 36, 38. Retrieved from http://search.proquest.com/docview/1262841?accountid=7098
Winegardner, Brian James. “A Performer’s Guide to Concertos for Trumpet and Orchestra by Lowell Liebermann and John Williams.” Diss. University of Miami, 2011. ProQuest Digital Dissertations Web 26 April 2014.