Chamber Music of Lowell Liebermann

Track Listings

1. Trio No. 1 for Violin, Cello and Piano, Op. 32

2. Concerto for Violin, Piano & String Quartet, Op. 28

3. Two Pieces for Violin and Viola, Op. 4

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

5. Trio No. 2 for Violin, Cello and Piano, OP. 77

Editorial Reviews
Amazon.com
Lowell Liebermann, born in 1961, is a prolific, successful composer who seems immune to the latest fashions in sound-effects and other innovations. His music is tonal and conservative, technically first-rate, unfailingly interesting, and unabashedly expressive and beautiful. The four works recorded here were composed between 1978 and 2001. The earliest, Two Pieces for Violin and Viola, sound most contemporary: a bit dissonant, linear, contrapuntal, combative; one is lyrical, the other vigorous. The other works are all cast in one continuous movement divided into distinct sections. The Concerto for Violin, Piano and String Quartet begins with a tinkling piano solo in the high register that recurs at key points. The soloists trade and develop lovely melodies and brilliant runs, the quartet comments. The Violin and Piano Sonata features strong contrasts of mood and texture; its flowing lines, high violin register and piano figurations are reminiscent of Prokofiev. The program begins and ends with a Piano Trio. No. 1 opens with an expansive stratospheric violin melody over a delicate, impressionistic accompaniment. The strings converse, the mood becomes agitated, building to several climaxes. No. 2 is the program's most recent work. Two impetuous, driving sections, punctuated by crashing chords, flank a calm, somber, somewhat eerie slow part that grows in intensity and builds to a passionate climax. The playing is superb. Terwilliger's tone is ravishing; his duo with Cooperstock is already renowned worldwide for its style and polish, and Diaz fits in seamlessly. The Ying Quartet lends empathetic support. --Edith Eisler

Album Description
Peter G. Davis writes: "Spanning the years 1978 to 2001, the music on this disc gives a useful overview of the musical aims and stylistic development of a prominent, productive, and often provocative American composer between the ages of 17 and 40. It is a useful mini-survey and a revealing one as well. All five works are written for small instrumental combinations, an exposed medium in which no composer has ever found an easy place to hide. In chamber music every note counts, and the composer must make the performer as well as the listener feel actively engaged with the music's substance and forward progress at all times, if the piece is to emerge as a fully satisfying listening experience. Anyone who listens closely to Lowell Liebermann's scores has to be impressed by their ability to do precisely this in music notable for its clarity and textural lucidity. Some will be tempted to call these works neo-romantic, neo-classical, post-modern, or any number of other fashionable terms, most of them not very helpful. Labels are often misleading, but one thing is certain; Liebermann is not concerned with startling his audiences by experimenting with radical new structures, never-before-heard musical sounds, or extended instrumental techniques. Indeed, he adopts a more conservative stance that apparently stings certain critics for whom novelty is absolutely essential if a new work is to be considered artistically valid. So much the worse for them. Liebermann is too busy composing to enter into such aesthetic arguments. The title of each piece on this disc honestly describes what it is, and in terms that composers as far back as Haydn and Mozart would recognize. Liebermann's music falls gratefully upon the ear, but it is filtered through the sensibility of a composer who clearly lives in our time and is fully aware of the tumultuous musical upheavals of the past century, even as he consciously makes the choice to offer us something that rises above the fray. Liebermann writes music that above all strives for balance and beauty - and braininess as well, for all those who care to dig beneath the surface. It is a healthy sign of the times that a composer can once again choose to be accessible in this way and not be automatically squashed and discouraged by the mandarins of contemporary music. Such was the fate of many American composers active in the generation that preceded Liebermann, and the new music scene is still in recovery from those bad old days."

Tracks:

Rhapsody in Blue
Malaguena from Andalucia Suite
Simple Gifts/Going Home; Shaker Hymn\ Going Home
Full Stride Ahead (Rag)
Feria from Rapsodie Espagnole
Gargoyles, Op. 29; III. Allegro moderato
Gargoyles, Op. 29; IV. Presto feroce
Hungarian Rhapsody No. 6
Variations on a Theme of Paganini
Danzas Argentinas, Op. 2; I. Danza del viejo boyero (Dance of the Old Cowherd)
Danzas Argentinas, Op. 2; II. Danza de la mozo donosa (Dance of the Delightful Young Girl)
Danzas Argentinas, Op. 2; III. Danza del gaucho matrero (Dance of the Artful Herdsman)
Valse and Romance; Valse
Valse and Romance; Romance
The Firebird (from the 1911 Version)

Amazon.com

This piano-playing team of five siblings could be easily dismissed as just another crossover ploy, but that would be a mistake. My initial surprise turned into an hour of pleasant listening and, on rehearings, to admiration for this unique ensemble of talented young artists. For one thing, they've got the chops to bring off some fiendishly difficult works. Listen to the way sisters Desirae and Deondra tackle modernist Witold Lutoslawski's Variations on a Theme of Paganini, or brother Ryan's colorful romp through Ginastera's tricky dance rhythms. The fivesome also achieve carefully balances in their concerted works, with a scrupulously turned version of Gershwin's Rhapsody in Blue and their arrangement of highlights from Stravinsky's Firebird. Those in doubt should hear tracks two through four, for irresistible versions of Lecouna's popular Malaguena, a fetching combination of Dvorak and Copland, and a piano rag by John Novacek. A delightful, spirited disc that never fails to please. --Dan Davis

Customer Reviews:

If Music Could Spin the World..........2006-12-05

...this CD would have our planet twirling voraciously. The Browns are back, and they're as stunning as ever. The brilliant fivesome (Desirae, Deondra, Gregory, Melody, and Ryan) simply shine in this recording. Their first recording was absoulutely breathtaking, but you could sense a cautious sort of "nervousness." The 5 Browns have overcome all caution, nervous or naught, and whiz confidently through dazzling solos, duets, and, of course, quintets. The highlights of this CD for me personally were 1) The 5 piano Rhapsody in Blue 2) Malaguena, performed by the lovely Brown brothers 3) Last but DEFINATELY not least, the 5 piano interpretation of Stravinsky's Firebird. Oh, I cannot convey to you the power and incandescent beauty of 'The Firebird,' especially on 5 pianos! 'The Firebird' alone makes this CD a winner. Other than that, frankly, I didn't get all excited about the other tracks. The Argentinian Dances are quite masterfully performed by Ryan, and I very much enjoyed Desirae and Deondra's (the inseparable duoists) 'Variations on a Theme of Paganini." This is not to be confused with the immensely popular 'Rhapsody on a Theme of Paganini'(composed by the incomparable Rachmaninoff.) All in all, if you enjoy a twist (but a respectful twist) on the world's greatest music, you will enjoy the power that's contained in this little Dual Discer.
(As a closing note, the video side of the disc is very entertaining, including music videos of Rhap in Blue, Simple Gifts, and The Firebird. Of course they cut the clips a bit, and I won't say it isn't noticeable, but boy is it cool to see the 5 in action!)

An enjoyable CD.......2006-08-05

I would have to say that I was absolutely amazed with this CD. I'm usually not the type of person who would listen to classical music, but I thoroughly loved it. I love playing it in the car on the way to class; it gets me relaxed. Buy 'No Boundaries'!! You will not regret it!

no sophomore slump here.......2006-08-04

I had always been a little bored by music for 2 or more pianos, but this disc changed my mind -- very exciting!

I recently had the pleasure of meeting The 5 Browns - what a nice bunch. They are all very talented, but the sum is even better than the parts -- what playing & what great enthusiasm. They obviously have fun making music together and they have the chops to make it exciting for the listener. Especially fun are Rhapsody in Blue and the excerpts from the Firebird. The DVD video bits are a nice bonus.

I'm waiting impatiently for their next disc.

Different and inspiring!.......2006-06-22

Well, I must say that I enjoyed this second CD better than the first one. There was more variety and I loved the arrangements for 5 pianos! As a teen classical pianist, it is cool to see someone finally making classical music fun and interesting. They have re-inspired me and my love for classical music!

Dual Disc.......2006-06-21

I really enjoyed the DualDisc version. Being able to see the 5 Browns playing adds so much. This is a wonderful disk. A great gift to introduce younger and older audiences to classical music!

Average customer rating:

Standing Ovation for Mr Libermann!!!!
I wanted to like this.
Good music, superbly performed
Delicious New Wine in Fine Vintage Bottles
The best flute music of the twentieth century

James Galway plays Lowell Liebermann

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Alexa Still, Flute

ASIN: B00000DFKH
Release Date: 1998-10-13

Tracks:

Concerto For Piccolo And Orchestra, Op. 50: Andante comodo
Concerto For Piccolo And Orchestra, Op. 50: Adagio
Concerto For Piccolo And Orchestra, Op. 50: Presto
Concerto For Flute, Harp And Orchestra, Op 48: Moderato
Concerto For Flute And Orchestra, Op 39: Moderato
Concerto For Flute And Orchestra, Op 39: Molto adagio
Concerto For Flute And Orchestra, Op 39: Presto

Customer Reviews:

Standing Ovation for Mr Libermann!!!!.......2002-03-27

The first work and the first time I heard of Mr. Libermann was on public radio, in 1995. At the time the Concerto for Flute and Harp was being performed by the Minessota Orchestra under Maestro Eiji Oue. Since then I always

I wanted to like this........2001-12-07

Having studied flute, I was excited to hear the new repertoire being hailed as an "instant classic" . . .after all doesn't the CD cover say "these compositions have become staples of the modern flute literature?" Well, give me a staple remover. How something becomes a staple within a year or two is beside the point. The music is repetitive, the harmonic language cloying, the orchestral colors almost non-existent. (I know you have to write lightly to showcase these solo instruments, but enough celesta already!) You hear a heavy John Williams influence throughout . . .unfortunately the influence does not take seed to produce an individual vocabulary. This review may not ssem "helpful" because it is so critical, but I am generally easy to please. One listen is all I could bear.

Good music, superbly performed.......2000-10-01

I was privileged to be at the world premiere of the Liebermann Flute Concerto in St. Louis years ago. The audience went nuts afterward. My impression of his music has only gotten stronger since that time.

This disc contains wonderful performances of exciting music which satisfies one more with repeated listening. I don't know any greater measure of good music.

Delicious New Wine in Fine Vintage Bottles.......2000-09-30

The concertos on this album contain some of Liebermann's most satisfying and idiomatic music, all compellingly performed by James Galway at his most committed and inspired. The slow movement of the Flute Concerto soars through lush washes of splendorous colors to emotional peaks of glorious sonority, the likes of which have been sadly absent from any composer's bag of tricks since the arching oceans of sound that flowed so effortlessly from Richard Strauss.

The idea of a piccolo concerto might seem preposterous, until one hears the warm, rich voice the instrument assumes in Galway's hands. Simply put, never before has a piccolo sounded like this. The piccolo has always been something of an orchestral extravagance, added to a piece in much the same way that a chef garhishes the main course. What a revelation it is to hear this diminutive instrument's hidden lyricism swell to operatic proportions.

Liebermann's music itself is significant not only for its sonic beauty and often profound emotion, but for its impeccably detailed architecture, as well. Each piece grows organically and naturally from small, meaningful sounds and figures. One is never lost, even though it may not be apparent exactly why, because the elements that hold each piece securely together are subtly interwoven beneath the surface in a masterful manner that often remains elusive to an untrained ear. In a sense, Liebermann is a musicologist's dream, for the complexity of his music unfurls in astonishing, graceful layers, somewhat in the manner of a sweet yet sharp Vidalia onion.

Unhappy, cynical music critics -- most of whom are, unfortunately, bitter, failed musicians -- would be quick to dismiss the sometimes sensuous, sometimes austere lyricism of Liebermann's music as derivative. Those professional musicians among us who have had the pleasure both to hear and to perform the works of this remarkable artist know better. Liebermann's music is derivative in the same way that Beethoven is derivative of Haydn, the way Strauss is derivative of Wagner, only Liebermann draws effortlessly from the entire spectrum of Western music, to which any curious musician living in this age of recordings cannot be oblivious. There is no truly new music, and that's a good thing. Anything worth playing or hearing is a culmination of its musical heritage, which any composer is foolish to try to subjugate. All the elements of Liebermann's immediately identifiable works come together to reveal a uniquely individual musician elegantly situated along the timeline of musical history.

The best flute music of the twentieth century.......2000-09-28

There is a very good reason why the music of Liebermann has become so popular with flautists all over the world. As we all know, the flute does not have a very large repertoire, and certainly not a large repertoire of good pieces. Although there have been some very good flute concertos written this past century, Liebermann's concerto has to be considered the strongest, on the basis of its melodic, harmonic and technical inventiveness, not to mention the wildly colorful orchestration that surpasses even the concertos of Nielsen and Ibert. An even stronger argument in Liebermann's favor is the very high percentage of standing ovations his pieces receive in concert. When was the last time YOU saw an audience rise spontaneously to its feet after the Prokofiev Sonata or a Mozart concerto?

Tracks:

Hexentanz
Chant Polonais No. 1 In G 'Maiden's Wish'
The Crimson Petal
The Fuchsia tree
Capriccio In F Minor, Op. 28 No. 6
Minuet In G, Op. 14 No. 4
Nocturne, In B Flat, Op. 16 No. 4
Etude In A-Flat Major, Op. 1 No. 2
Melodie In E
Caprice-Burlesque
My Favorite Things
Kashmiri Song
Music Box
The Swan
Papillons
The Gardens Of Buitenzorg- (From 'Java Suite', Book 3)
Waltz In A, Op. 2
En route, Op. 9
Sicilliano, Op. 42 No. 2
Caprice espagnol, Op. 37

Tracks:

Variations Brillantes Op. 14
The Enchanted Nymph
Der Kontrebandiste
Melody In F
Gargoyles, Op. 29: I. Presto
Gargoyles, Op. 29: II. Adagio semplice, ma con molto rubato
Gargoyles, Op. 29: III. Allegro moderato
Gargoyles, Op. 29: IV. Presto feroce
The Musical Snuffbox
The Musical Snuffbox
Etude de style, Op. 40 No. 1 'Agilite'
Till I Wake
Weep You No More
March Of The Siamese Children
Valse mignone
Serenata, Op. 15 No. 1
Bourree (From Violin Sonata No. 2)
Erinnerungen (Triakontameron No. 25)
Adagietto (From 'L'Arlesienne')
Ungarishe Zigeunerweisen

Customer Reviews:

Good, not great........2002-05-22

I got this double cd, since a fellow reviewer of Hamelin's Kaleidoscope said he couldn't fully endorse that disc, since this cd would be so much better. Wrong again, sewer boy!

Thanks to Arthur Schnabel complete recordings of Sonatas, Concertos and Variation Works have become the mainstay of the recorded piano repertoire. Nowadays, it is hard to imagine that this has not always been the case. Yet, just have a look at the complete Rachmaninov recordings on RCA to see that even this giant mostly recorded little trifles, since the record buyers of his time prefered snacks over meals.

This generous and economic double cd contains a compilation of mostly romantic smaller scale works, that Rachmaninov's clientele would have enjoyed. Some are obscure, others e.g. Ljadov's snuff box and Taussig's Gypsy tunes are pretty well known.

Hough-a man from the splendid 1961 vintage, just like Hamelin and your's truly- is a highly accomplished pianist. His playing is good, yet not up to the Hamelin standards. The repertoire, however, started to bore the hell out of me after a while. I admit, that there are true exceptions like the Liebermann Gargoyles, but for me this set was simply too much of a good thing.

The interpretations vary from decent to good. I used to own an lp of the French virtuoso Setrak, that contained both the Ljadov and Taussig mentioned above and believe you me those interpretations dwarfed what we get here.

In conclusion, a generous compilation of smaller scale pianoworks. Good clean piano playing and more than adequate recordings.

Incredible!.......2001-01-12

I am a pianophile and longtime record collector, and this is one of the most awe-inspiring recordings I have ever heard. Stephen Hough's pianism - and I don't mean to be hyperbolic - simply exhausts all adjectives one might try to use to describe it. This is the kind of album to listen to not so much for the music (though these are charming and now-rarely heard pieces) but for the artistry of the performer. For stunning virtuosity, listen to the final measures of the Moszowski piece or to the MacDowell; for rich tone and melting legato listen to Hough's own transcriptions of the two Roger Quilter songs. Out of hundreds of CDs I have heard, this is one of my absolute favorites - and a steal at the price. Stephen Hough is the modern day Cortot, Gieseking, Rachmaninoff, and Joseph Levine, for he has it all - drama, precision, color, intellect, raw strength, and yes - delicacy. I rarely make recommendations like this, but you absolutely must hear this recording.

overly rich nostalgic pieces and particles of the piano.......2001-01-06

This is music that seems to have lapsed into a forgotten time warp, like when you open that old wood truck in the attic to find odd bits and particles,objects,dolls and photographs that immediately transports you into another fantasia place. That's what this music does. Hough has selected for the most part fast filigreed,rapid cascades and ribbons of pieces. Each however has its own narrative,its own special tale to reveal, a special musical texture,an endearing melody. Needless to say most of the composers here are those you've never heard before,like Ignaz Friedman, whose "Music Box" is not what you think, yes it has that timbre of forever moving tickly tones,for a ballerina popping out of a ceramic box. But there is a large pallette of sophistication here as well with the unique timbre of the piano. Every piece does this admirably. The Hexentanz of MacDowell (arr.Liszt) is a helter-skelter piece never stopping,scaling the upper regions of the keyboard,and this would be an encore work. It keeps you on the edge of your upholstered chair.Leoplold Godowsky is not an unfamiliar name,he is a specialist in the art of the arragement trying to capture a timbre, and here in Camille Saint-Saens forever memorable "Swan"the final days of post-romantic Louis Napoleon the Third era is handled with just a few more ripples in the pond than before almost imperceptible.

When played in consecutive order all these works I found myself bored,this music inhabits such a rich timbral world that it's message overspends itself, overspills into the next work. A modernist voice of Lowell Lieberman is here, a postmodern specialist in this genre of the new tonality, or the past revisited. Proust taught us the rich chasms of remembering, and the process of reoccurence of time returning in differnt guises. Lieberman's "Gargoyles" has its own sardonic charm.,equally at home compliasant with his timbral brethren.

Lowell Liebermann: Piano Works, Vol. 2
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Lowell Liebermann: Piano Works, Vol. 2

Manufacturer: Koch Int'l Classics
ProductGroup: Music
Binding: Audio CD

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Release Date: 2004-06-29

Tracks:

Gargoyles, op. 29: Presto
Gargoyles, op. 29: Adagio semplice, ma con molto rubato
Gargoyles, op. 29: Allegro moderato
Gargoyles, op. 29: Presto feroce
Variations on a theme by Anton Bruckner, op. 19
Piano Sonata No. 1, op. 1: Adagio
Piano Sonata No. 1, op. 1: Scherzo: Presto
Piano Sonata No. 1, op. 1: Lento
Piano Sonata No. 1, op. 1: Scherzo: Presto strepitoso
Piano Sonata No. 2 ("Sonata Notturna"), op. 10
Album for the Young, op. 43: Dance
Album for the Young, op. 43: Song
Album for the Young, op. 43: Endless Melody
Album for the Young, op. 43: Boogieman
Album for the Young, op. 43: Ghost Waltz
Album for the Young, op. 43: Ostinato
Album for the Young, op. 43: Marching off to War
Album for the Young, op. 43: Rainy Day
Album for the Young, op. 43: Broken Heart
Album for the Young, op. 43: Lullaby
Album for the Young, op. 43: Starry Night
Album for the Young, op. 43: Hommage - Faure
Album for the Young, op. 43: Funeral March for a Pet Rat
Album for the Young, op. 43: Hommage - Alka
Album for the Young, op. 43: Melancholy
Album for the Young, op. 43: Barcarolle
Album for the Young, op. 43: The Little Baby Rhino
Album for the Young, op. 43: Toccata

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American Virtuoso

Manufacturer: Albany Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Solo Instrumental | New Age | Styles | Music
ASIN: B000JJSP1S
Release Date: 2006-11-01

Tracks:

Sonata No. 3 for Piano, Op. 82
Suite R-B
Four Etudes
Recalling
Collusions
Balletto
Janabe Tapatio "Mexican Hat Dance"

Product Description

This compilation represents a cross section of American piano music written around the turn of the new millennium. The title American Virtuoso refers as much to the music as to its performer and describes how these composers have idiomatically responded to the challenge of writing for the piano. Yet the range of styles here is as wide as the generation gaps between the composers. All of the works, except for the first two Thomas Etudes, were written for and premiered by James Giles. All receive their world premiere recordings here, except for the Wild arrangement, which Wild himself has recorded in the past. Mr. Giles has earned a reputation as one of the most versatile pianists of his generation, acclaimed for the dynamic brilliance and communicative power of his playing. Giles performs regularly throughout the United States as recitalist and concerto soloist. His international tours have taken him to the Chopin Academy in Warsaw, Wigmore Hall in London, Salle Cortot in Paris, Sibelius Academy in Helsinki and several cities in China. A native of North Carolina, Giles studied with Byron Janis at the Manhattan School of Music, Jerome Lowenthal at the Juilliard School, Nelita True at the Eastman School and Robert Shannon at Oberlin College.

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Lowell Liebermann: Piano Music, Vol. 1

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ProductGroup: Music
Binding: Audio CD

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ASIN: B00009WVR6
Release Date: 2003-07-22

Tracks:

Impromptu No.1
Impromptu No.2
Impromptu No.3
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.55
Nocturne No.7, Op.65
Apparition No.1 - Inquieto, Teneramente E Fragile; Un Poco Delirando
Apparition No.2 - Nobile
Apparition No.3 - Affrettando Misterioso
Apparition No.4 - Supplichevole

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Chamber Music of Lowell Liebermann

Manufacturer: Albany Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B0002W4TA8
Release Date: 2004-09-28

Tracks:

Trio No. 1 for Violin, Cello and Piano, Op. 32
Concerto for Violin, Piano & String Quartet, Op. 28
Two Pieces for Violin and Viola, Op. 4
Sonata No. 1 for Violin and Piano, Op. 46
Trio No. 2 for Violin, Cello and Piano, OP. 77

Amazon.com

Lowell Liebermann, born in 1961, is a prolific, successful composer who seems immune to the latest fashions in sound-effects and other innovations. His music is tonal and conservative, technically first-rate, unfailingly interesting, and unabashedly expressive and beautiful. The four works recorded here were composed between 1978 and 2001. The earliest, Two Pieces for Violin and Viola, sound most contemporary: a bit dissonant, linear, contrapuntal, combative; one is lyrical, the other vigorous. The other works are all cast in one continuous movement divided into distinct sections. The Concerto for Violin, Piano and String Quartet begins with a tinkling piano solo in the high register that recurs at key points. The soloists trade and develop lovely melodies and brilliant runs, the quartet comments. The Violin and Piano Sonata features strong contrasts of mood and texture; its flowing lines, high violin register and piano figurations are reminiscent of Prokofiev. The program begins and ends with a Piano Trio. No. 1 opens with an expansive stratospheric violin melody over a delicate, impressionistic accompaniment. The strings converse, the mood becomes agitated, building to several climaxes. No. 2 is the program's most recent work. Two impetuous, driving sections, punctuated by crashing chords, flank a calm, somber, somewhat eerie slow part that grows in intensity and builds to a passionate climax. The playing is superb. Terwilliger's tone is ravishing; his duo with Cooperstock is already renowned worldwide for its style and polish, and Diaz fits in seamlessly. The Ying Quartet lends empathetic support. --Edith Eisler

Album Description

Peter G. Davis writes: "Spanning the years 1978 to 2001, the music on this disc gives a useful overview of the musical aims and stylistic development of a prominent, productive, and often provocative American composer between the ages of 17 and 40. It is a useful mini-survey and a revealing one as well. All five works are written for small instrumental combinations, an exposed medium in which no composer has ever found an easy place to hide. In chamber music every note counts, and the composer must make the performer as well as the listener feel actively engaged with the music's substance and forward progress at all times, if the piece is to emerge as a fully satisfying listening experience. Anyone who listens closely to Lowell Liebermann's scores has to be impressed by their ability to do precisely this in music notable for its clarity and textural lucidity. Some will be tempted to call these works neo-romantic, neo-classical, post-modern, or any number of other fashionable terms, most of them not very helpful. Labels are often misleading, but one thing is certain; Liebermann is not concerned with startling his audiences by experimenting with radical new structures, never-before-heard musical sounds, or extended instrumental techniques. Indeed, he adopts a more conservative stance that apparently stings certain critics for whom novelty is absolutely essential if a new work is to be considered artistically valid. So much the worse for them. Liebermann is too busy composing to enter into such aesthetic arguments. The title of each piece on this disc honestly describes what it is, and in terms that composers as far back as Haydn and Mozart would recognize. Liebermann's music falls gratefully upon the ear, but it is filtered through the sensibility of a composer who clearly lives in our time and is fully aware of the tumultuous musical upheavals of the past century, even as he consciously makes the choice to offer us something that rises above the fray. Liebermann writes music that above all strives for balance and beauty - and braininess as well, for all those who care to dig beneath the surface. It is a healthy sign of the times that a composer can once again choose to be accessible in this way and not be automatically squashed and discouraged by the mandarins of contemporary music. Such was the fate of many American composers active in the generation that preceded Liebermann, and the new music scene is still in recovery from those bad old days."

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Excellent rare viola repertoire

American Viola Works

Manufacturer: Cedille
ProductGroup: Music
Binding: Audio CD

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Customer Reviews:

Excellent rare viola repertoire.......2001-12-10

Cathy Basrak is one of many young violists on the scene today. She does an excellent job on her debut CD by presenting works not often heard today. Some of the works are even first recordings. If you love the viola and hunger for new or rare repertoire like I do, then this CD is for you. The works span the years 1940 to 1984. Some have a contemporary sound but are still quite accessible. A real gem of a find.

60 Years 60 Flute Masterpieces (Highlights)

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60 Years 60 Flute Masterpieces
There'll always be a Galway

60 Years 60 Flute Masterpieces (Highlights)

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Duets | Chamber Music | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Pop | Styles | Music

General | Easy Listening | Pop | Styles | Music

Orchestral Pop | Easy Listening | Pop | Styles | Music

General | Celtic | International | Styles | Music

Solo Instrumental | New Age | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Flute Greatest Hits
The Very Best of James Galway
The Great Flute Concertos
Bach: Flute Sonatas
James Galway - Dances for Flute

ASIN: B00000K2F3
Release Date: 1999-09-14

Tracks:

Suite No. 2 In B Minor, BWV 1067: Menuet
Suite No. 2 In B Minor, BWV 1067: Badinerie
Concerto In E, Op. 8 No. 1, 'Spring': Allegro
Allegro
Concerto No. 2 In D Minor, Op. 31: Polacca
Concerto for Flute & Harp In C, K.299: Andantino
Flute Quartet in A, K.298: Rondeau: Allegretto grazioso
Grand duo concertant In A, Op. 85: Scherzo
Il carnevale di Venezia, Op. 77
Sonata in A: Allegretto poco mosso
La Flute de Pan, Op. 15: Pan et les bergers
Syrinx
Concerto For Flute & Orchestra: Allegro vivace
Fantasia para un gentilhombre: Canario
Three Shanties For Wind Quintet, Op. 4: Allegro vivace
Concerto For Flute & Orchestra, Op. 39: Presto

Customer Reviews:

60 Years 60 Flute Masterpieces.......2005-10-12

Everything this man does is great, so putting many years together in one place could only be the same.

There'll always be a Galway.......1999-10-10

Of course this is a 5-star production, but I deducted a star only because any one who has been collecting Galway recordings already has all or most of the selections on this CD. As with other artists, BMG has been repackaging earlier Galway offerings under many names and excuses; is the simply the latest (though certainly not last) in the series. The music is the usual mixture of short pieces that can stand on their own and movements that cannot out of the context of the larger works from which they are lifted.

Track Listings:

Track Listings

track listings

Track Listings

Stampede [Explicit Lyrics]

Valses Poeticos

The Blues "White Album"

Price for Peace

Oddzar

Universal Nubian Voices

Torchy/Blue Moon [Import]

Vivaldi: Sonate a tre "La Folia"/Corelli: Sonates Op.5/Tartini: Concertos [Box set]

Walls Hearts & Heroes [Import]

Trio, Vol. 3

Welcome to Wherever You Are [Original recording remastered]

1. Trio No. 1 for Violin, Cello and Piano, Op. 32
2. Concerto for Violin, Piano & String Quartet, Op. 28
3. Two Pieces for Violin and Viola, Op. 4
4. Sonata No. 1 for Violin and Piano, Op. 46
5. Trio No. 2 for Violin, Cello and Piano, OP. 77