This movement is based on the first two bars of Bach's monumental B minor Mass. 

It surprised me that here and there this movement reminds me of Maher. His second symphony is, as of now, to be the inspiration for the rewrite of the next movement.

Symphony No. 22 (2023) (Ruminations) Mov. II

Dear Friends & Colleagues,

Do you think this subdued vision of my instruments is too dark for this piece?

Please let me know on Facebook or Linked In.

Thanks,
Ken

Quintet No. 4 For Bassoon & Strings Mov. I

Quintet No. 4 For Bassoon & Strings Mov. II

Trio For Katherine Mov. III

This movement has elements of a lyrical minuet and a furious scherzo. After an intense interchange, it ends on a reflective note.

Originally my second symphony was scored for a huge orchestra. During a revisit to the work in early 2023 I paired down the ensemble, as I did with a number of other pieces at the time.

For months, although I was happy with the lighter ensemble of those other pieces, the second cried out for something akin to its original weight and variety of tone colors. For weeks I imagined the basses asking to be reinforced by the contra bassoon in the final movement. Then english said bring me back too. Particularly in the this third movement,  the soulful sound feels welcome. So welcome back... 

For me this bespeaks of a larger lesson: just because you believe something passionately one day, it doesn't mean that has to necessarily be a rule to follow regardless of circumstances. I am reminded of the man who vacationing with his wife looked at a map pointing vigorously at a path recommended for tourists. His wife, calmly said, "I see the sign over there... it says ' path formerly for tourists. This area has become a swamp of quicksand.' " The husband swallows his pride saying... "oops."

Symphony No. 2 (2023) Mov. III

The opening motive is three notes: 

Although this movement has lighter moments, it starts and ends with intensity. As with much of my work, there is an interest in integrating the shadow side with the ego.

This version, like the first movement, is practically a different piece than the 2023 version.

Bassoon Concerto No. 3 Mov. III (2024 -- version with band)

This movement is based on the opening bar of Vivaldi's "Bassoon Concerto in C Major, F VIII no. 31, RV 476. 

I imagine a scene where Antonio is trying to get Ludwig to be more positive, optimistic... Occasionally, in this make-believe, Ludwig gets into his cheerful A Major mood, but reverts to his darker and more intense self of the C sharp minor quartet and parts of the ninth symphony.

This movement introduces material that will be featured in the third movement, and makes brief appearances in the second.

Bassoon Concerto No. 3 Mov. I (2023 -- version with strings)

The first movement starts with Burwasser's first two notes (both A) with dramatic silences presented in call and response. 

His third note (C) lengthens the motive. Trumpet introduces notes seven, five and six against slower and faster versions of all his 7 notes... not quite a tone row, but with structure very much in mind. 

Supported this ever unfolding architecture are emotions called forth by Burwasser's inspiring art, though his music never appears as a quote.

Symphony No. 35 Mov. I

Movement III

Opens with a greatly lengthened Elcock chord in which inner voices resolve the strongest dissonances. Melodies are formed from the newly diatonic version. Elements from the first two movements are transformed gradually into a scherzo. The coda includes a redevelopment of the Stravinsky material from the previous movement.

Symphony No. 36 Mov. III

The first movement opens with bassoon singing a reflective version of one of the themes from Steve Wylie's "Daily Bits." His good humor moderates my intensity. That said, the first movement is still pretty serious business.

Symphony No. 38 Mov. I

Movement one begins with mourning. Piccolo clarinet, then English horn present the symphony's main theme. It uses the first 12 bars of Titone's beautiful song, although not in the original order.

Memories of a full life lift our spirits.

Symphony No. 39 Mov. I

Mov. III

A year later, the son, experiencing the onset of one of his first-month long depressions, tries to put on a good face and laughs when:

The father jokingly complains at dinner to his wife:  You must think I'm a god because you always give me burnt offerings."

The wife manages a long-suffering smile. Her nutritious, balanced meals almost always looked better than they tasted. She was a gifted visual artist who when asked about her exquisite presentations of meals said, "I'm always practicing."

Flashback: it was more than a decade earlier when the boy first heard his dad tell this "joke" to his mother. Neither father nor son could figure out why she didn't learn to not overcook food. The daughter knew it was her mom being passive aggressive. She was the peace-maker in the family so she held her tongue. 

The father then said to her, "I don't know why our little guy here (he puts his hand on the boy's shoulder) doesn't have any friends. When I was a kid, we used to just go downstairs to play stick ball."

The mom thinks to herself "It was a lot safer for kids to do that in our day." She's too afraid to say this because her husband might take that to mean that he had chosen a less safe neighborhood to raise the family because he couldn't afford the suburbs or get comfortable driving a car.  So she said, "I'll arrange some playdates for him."

That pushed one of his accordion-like buttons: the use of the word "dates" for little boys made him cringe with homophobia. 

The dad decides he'll make a man out of his son. So over the next years, the kid plays, tennis, golf, ping-pong, bowls (once in a while scoring 300-  but his dad remarks about how inconsistent he is, same with the golf and tennis.) The kid learns to swim miles at a time. His dad is proud of that, telling a golf acquaintance, adding, "Yeah, but he's slow-never won even one race."

The kid gets a weight-lifting coach who pushes him too far. He's bench pressing more than his weight and squatting more than double his weight when his back gives out. It heals but the sciatica worsens over the next two decades. (He eventually learns PT exercises which minimize the issue.)

He learned from when he was Valedictorian and frequent award winner in middle school. His dad's reaction at graduation was to joke, "Can't you let someone else up on the stage for a change." What the kid learned by the time he was Valedictorian and mega-award winner in HS, was to not invite his parents to the awards ceremony. 





(... to be continued)

Symphony No. 40 Mov. III

This piece is a gift to Beth, my dear wife of 34 years... we'll toast with Prosecco to the next 34!

For Beth On Valentine's Day

This exciting work for brass ensemble is passionate, lyrical and full of surprises.

Scored for 4 trumpets, 4 french horns, two tenor trombones, bass trombone, euphonium and tuba, "Devil's Dozen" was written for my friend, trumpet player, teacher, conductor, pianist, composer Richard Titone.


***

The original name of this piece was "Duodectet." With the request for a euphonium, the name had to change... (I like the new name better, anyway.😊)

***
The photo is by Beth Rubin, as of yet a little-known, gifted individual... Of course, I've been fortunate enough to know her for 37 years😊.

Devil's Dozen

A fifth duo to play with trumpet player, Bill Stevens, this work is more emotionally than technically complex. (Bassoon is my main instrument.)

Inspired by Daniel Burwaser who recently wrote a piece for our dying planet, this duo briefly breaks out of feeling defeated.

Duo No. 5 For Trumpet & Bassoon

This lyrical etude was written to play with composer and trumpet player Bill Stevens and composer and cellist Steve Wylie.

Etude No. 1 For Trumpet, Bassoon & Cello

Beginning with chamber music, the playful conversation at times delves into more serious matters.

Concerto For Trumpet & Symphonic Band Mov. II

This is a lyrical and exciting concerto.

It was written for Richard Titone. It is also a tribute to the work of John Barnes Chance whose life ended far too soon.

Educational opportunities include syncopation, individual phrasing, articulations and dynamics. There are also technical passages, especially in flute and percussion parts.

Concerto For Trumpet & Symphonic Band Mov. I

This finale starts with memories of the first movement's quiet reflections. 

As is the case with much of my music, the final movement 's drama reaches new heights... Here is the rising action, the points at which conflicts become most intense, the climax, the final act... I think of these works as movies without images or dialog.

Concerto For Trumpet & Symphonic Band Mov. III

This movement is based on J.S. Bach's famousThis movement is based on the opening bar of J. S. Bach's "Concerto for Oboe & Violin."

The material becomes increasingly distilled until the three note motive of the final movement emerges harkening back to the opening Vivaldi idea.

Bassoon Concerto No. 3 Mov. II (2023 -- Version with Strings)

In the 2023 version (for bassoon & strings) Vivaldi's positive energy populated most of the first movement. 

In 2024, my concerto for trumpet & symphonic band, written for trumpet player, conductor, teacher, composer, pianist Richard Titone, because of his wife's tragic death, brought to mind tragic death of John Barnes Chance. 

This version of the the third bassoon concerto was written while still in this darker mood.

Like the first movement, it is almost a completely different piece than the 2023 version with strings

Bassoon Concerto No. 3 Mov. I (2024 -- version with band)

Although this movement has lighter moments, it starts and ends with intensity. As with much of my work, there is an interest in integrating the shadow side with the ego.

Bassoon Concerto No. 3 Mov. III (2023 -- Version With Strings)

"Core for Bassoon & Band" is based on the symphonic wind ensemble version of my third bassoon concerto, which in turn is based on the earlier version for bassoon & strings, which in turn is based on the opening bar of a Vivaldi bassoon concerto-- that's a mouthful😊

With each version, Vivaldi moved progressively out of the spotlight.
If you listen very closely, you can hear traces of his masterwork even in the core band version.

The present version (will it be the last or am I in some sort of "Groung Hog Day" syndrome?) the music  lasts for less than nine minutes. That's less than half the length of the previous version. The "core" version focuses on material from the first and third movements of the symphonic band version.

******
Composer Micah Levy agreed to look at my concerto for trumpet & symphonic band... He suggested I write a concerto for bassoon & band. He also suggested I could both solo in the work in readings at high schools and colleges as well as give woodwind clinics. I liked the idea so much, that I took a break from my new violin concerto to get to work on the bassoon & band piece. 

I had too much on my plate, so I wanted something quick, easy and fun....ha... more fool I! It has been lots of fun, but anything but quick and easy.

Rather than write a fourth bassoon concerto (at this time at least) (It might be a good idea to dust off my instrument😊) it felt practical to arrange one of the first three... The first fits just right with its accompaniment of strings and percussion. My wife said, "What!?! No celeste."🤣

My second bassoon concerto is a reworking (also transformed) of my bass clarinet concerto. I'm not sure, but there's a twinkle of interest in the back of my brain that wants to revise it in the not too distant future... either way, it felt too soon to arrange it.

The third bassoon concerto works well with its string accompaniment. It would not work as is for wind ensemble. That said, I am have been and continue to be delighted by Vivaldi's exuberance. People joke that he wrote the same concerto six hundred times, yet many have such sparks of originality that it brings joy to many, including me... of course his was the first art which seemed to be a mirror to my budding love of music. His bassoon concertos (approx. 40) led me to believe, in my early teenage years, that bassoonists could be soloists, composers, conductors just like violinists and pianists... of course today, there are more and more solo bassoonists, and soloists on every instrument, but by the time I left Tanglewood to enter Juilliard as a 17 year old freshman, I was seeing the professional music world as almost as impossible as I saw the world in general. So, after a few recitals and competitions, even though I had some modest success, I gave up my dreams both about being a bassoon soloist and a conductor. Composing somehow survived my cognitive distortions... It is true, at least for me, that what my teacher, David Diamond said:
Violinists and pianists generally are the first to reach virtuoso level. Composers, in general, take the longest to develop.

When I was younger, I wanted to be a developed composer. Now, I am thrilled to still be a developing composer.

Can you imagine what it must feel like to know your best work is behind you? I can't wait for the new day to see what will be.

Core for Bassoon & Band (April 2024)

This work features solo bassoon accompanied by concert band at approximatel NYSSMA Level 3. It has educational opportunities in terms of individual phrasing, accents, dynamics and tempo changes.

Flute  & percussion parts are more challenging than the others. In my. experience, they sometimes want more of a challenge.

Solo and band parts, music minus one recording and score can be purchased by emailing KennethLiebersonMusic@hotmail.com

The 3rd Core

This expansive, lyrical, passionate violin concerto is based on a few bars of several of the great violin concertos.

The first movement employs the most famous three notes of Sibelius' "Violin Concerto."  On the whole, the first movement, to me sounds more like a work that could have been written by a composer who studied with Shostakovich.

I am delighted to report, that composer Micah Levy has described my music as "A very powerful voice and endless creativity."

Violin Concerto No. 5 Mov. I

This finale is meant to bring a smile of recognition with its quotes of famous violin concertos. Nonetheless, for much of the movement, dramatic, cinematic action predominates.

The ending surprised me. I'd be curious to know your reactions.

Violin Concerto No. 5 Mov. III

This sonata was written for violist, Chiu-Chen Liu. She is also a gifted visual artist.

Here in my dedication:

"Because you are a visual artist and violist who likes Hindemith, the first movement is based on the first phrase of his 'Mathias the Painter.'"

Because your sense of color is so vibrant. The second movement is based on a bar from one of the most colorful works, Rimsky-Korsakov's 'Scheherazade.'

The final movement is based on "The Great Gate of Kiev" from Mussorgsky's "Pictures at an Exhibition." This is also meant to support Ukraine in this terrible time of Russian aggression.

Viola Sonata No. 2 Mov. II

This sonata was written for violist, Chiu-Chen Liu. She is also a gifted visual artist.

Here in my dedication:

"Because you are a visual artist and violist who likes Hindemith, the first movement is based on the first phrase of his 'Mathias the Painter.'"

Because your sense of color is so vibrant, the second movement is based on a bar from one of the most colorful works, Rimsky-Korsakov's 'Scheherazade.'

The final movement is based on "The Great Gate of Kiev" from Mussorgsky's "Pictures at an Exhibition." This is also meant to support Ukraine in this terrible time of Russian aggression.

Viola Sonata No. 2 Mov. I

Colorful, mysterious, passionate, this sonata was written for violist, Chiu-Chen Liu. She is also a gifted visual artist.

Here in my dedication:

"Because you are a visual artist and violist who likes Hindemith, the first movement is based on the first phrase of his 'Mathias the Painter.'"

Because your sense of color is so vibrant, the second movement is based on a bar from one of the most colorful works, Rimsky-Korsakov's 'Scheherazade.'

The final movement is based on "The Great Gate of Kiev" from Mussorgsky's "Pictures at an Exhibition." This is also meant to support Ukraine in this terrible time of Russian aggression.


***
I also want to thank violist, violinist, flute player, composer Elaine Fine  for consulting with me on editing.

This flute solo is accompanied by concert band at approximately NYSSMA Level 3.

Ensemble flute and percussion parts are more challenging. In my experience, those players sometimes want more to do.

Educational opportunities include syncopation, dynamic contrasts, a ritard and two accelerandos.

There are lyrical as well as exciting moments. All instruments have interesting parts.

Solo and band parts, music minus one recording and score can be purchased by emailing KennethLiebersonMusic@hotmail.com


***
Chiu-Chen Liu Is the gifted violist and painter allowing me to use her visual works on my album covers.

Fourth Core For Flute & Concert Band

This french horn show piece is accompanied by a concert band at approximately a NYSSMA Level 3.

Its educational opportunities include: syncopation, independent lines, some technical passages, dynamic contrasts and a slightly more extended form than Level 3 bands typically play.

This work is based on the first movement of my Tuba Concerto. Ironically, the next piece on which I plan to work is an arrangement of "5th Core" for tuba and band... I'll call it "Core 6.

***
Chiu-Chen Liu Is the gifted violist and painter allowing me to use her visual works on my album covers.

5th Core For French Horn & Concert Band

This exciting work for solo tuba and concert band, at approximately NYSSMA Level 3, is based on the first movement of my "Concerto for Bass Tuba & Orchestra."


***
This painting, is by Edvard Munch

6th Core For Tuba & Concert Band

This concerto was originally six short movements. Four of them went into hibernation. 

After I wrote my second viola sonata, it seemed like a good idea to revisit the concerto... It was incomplete. I thought about basing the last movement on the "Prelude" from J. S. Bach's Solo Suite in D minor.

None of the ideas were worth putting into score. Planning to return to the project at a later date, something in the four orphan movements began calling to me (not on my cellphone😊... you'd think they would have at least left a message). 

Revisions began on the four (which I had called "Four Preludes for Viola & Orchestra"). I can't recall at the moment, what if anything remained of the second prelude. All I knew was that I was having a great time. 

Outgrowing its title of "prelude," it dawned on me that some of the Concerto's second movement might make a good second theme for the finale... An initial draft slimmed down from over 16 minutes to under 11.

The only problem is that now I can't call that other piece "Four Preludes🤣

Viola Concerto (2022, 2024) Mov. III

This trio is based on my quartet of a similar name. As is usually the case, when I return to a piece with a fresh ear, new possibilities present themselves. 

Almost always, I love the new version more. Generally, as in this case, the material has greater focus.

The original was based loosely on the first three bars of J. S. Bach's "Chaccone in D minor," which I know mostly from having spent years trying to teach my left hand to play Brahms' arrangement. It may be the most enjoyable to piece I have ever practiced. I performed it once... for a colleague's class... after suffering for a few minutes, she politely interrupted saying they had to get back to their lesson plan.🤣  (Well, that's not the whole story... I had just played the entire solo version of "Rhapsody in Blue," which they liked well enough to want an encore... yes, hard to believe, I know.😊)

This version is much more closely involved with Bach's masterwork.

Amigo Trio

Having written hundreds of silly poems ("Dr. Seuss Exclusively for Adults") I thought about doing stand-up/ open mic. Nah, who needs that kind of pressure?!

Can you imagine?! Getting up on a stage, all vulnerable, having practiced endlessly only to worry how many rotten tomatoes are coming your way?

Someone suggested I try stand up on my phone. Being a quick learner, it only took me two, maybe four or five, broken iPhones to realize the suggestion wasn't literal.

"Write what you know," goes the age-old wisdom.... 2 and 2 make five in my head... sometimes. Not always... that would be silly.

So, I know bassoon and composing.
Igor, named when I got him at age 13, after learning that the opening solo was not an English horn., had been doing such a good job for the last 40 years-- of collecting dust-- that I hated to have him suddenly try to remember into which end you put the reed.

So here is my reading of the first part of one of my recent bassoon pieces.

I'd love to hear any and all types of friendly, well-meaning compliments. Negative comments will be filtered immediately into my junk folder.

Soundscape No. 2 (excerpt, live)

Soundscape No. 2 (Composer's Spoken Intro, Part 2 of 2)...
Slightly funnier (hopefully😊) than Part 1.

Soundscape No. 2 (Composer's Spoken Intro, Part 2 of 2)

Setting the stage...
Soundscape No 2 (Composer's Spoken Intro, Part 1 of 2)

Soundscape No 2 (Composer's Spoken Intro, Part 1 of 2)

Kenneth Lieberson is a composer of symphonies, concertos, tone poems, theater and chamber music, songs, a cantata and a one act opera. His music has been heard on National Public Radio, at The Library of Congress, Lincoln Center, Queens College, NYU, Stony Brook, CAMI Hall, Merkin Hall and at high and middle schools. His B. M. and M. M. are from Juilliard. He also earned an M.B.A. at NYU's Stern School of Business.

Mr. Lieberson has also written two novellas, dozens of short stories and hundreds of poems.  He illustrated some of these.

Kenneth Lieberson

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