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

Working backwards, as I usually do, after re-writing the last movement, I wanted something from it to be hinted at in the second movement. A simple stepwise motive and the meter from the opening of the third movement was enough to get the second movement back on track. I removed a lot of the unnecessary dissonances, cut out extraneous themes and tightened the structure. It will be interesting to see what this new second movement suggests as I begin re-working the first movement.

When I returned to this movement, another year later, I was able to see where it needed more of the opening material and where it covered the soloist. I wonder, and hope, that I can see these things sooner in the future.

Concerto for Bass Tuba & Orchestra (2023)Mov. II

After the extensive re-writes I have done recently, even of the second and third movements of this concerto, I was surprised that the first movement needed only a little expansion of the theme and a few more open places for the soloist. I am surprised by the vitality of this work considering the current tense political climate.

It took a number of drafts of the last phrase to find an orchestral accompaniment which felt right.

When I returned to this movement a couple of months after my first revisions, I streamlined the orchestration and softened some of accompaniment dynamics. The biggest change was replacing 3rd & 4th trumpets with woodwinds and second trombone with bass trombone. 

Conductor Ray Fowler, commented that this piece is "incredible." I was so tickled by that comment that I temporarily added it to the title.

Concerto for Bass Tuba & Orchestra (2023) Mov. I

Thanks to a friend mentioning that my Bass Trombone Concerto didn't have enough space for the soloist, I have begun to revise all my concertos with this is mind. 

As is usual for me, the final movement is the most substantial.

Bartok and Lutoslawski were my models for this work yet the more I worked with the material, the less it sounded like them.

Concerto for Bass Tuba & Orchestra (2022) Mov. III

This sextet is based on its opening horn call. It is, like most of my works, in the words of colleagues and others: "dark, serious, lyrical, rough-hewn, emotional, optimistic."

Edited on November 28th, 2023 into the wee hours of the next day, it is more spacious and inevitable.

Today (May 8th, 2024) the work got leaner.

Some pieces keep bringing me back. Others seem just right, a snapshot of what was going on at the time.

As a bassoonist, I played a fair amount of cello music. Cello in its own right has come to increasingly fascinate me. I wonder if there is a cello concerto in me.


*****
Photo by Saeed Khorsavi.

Sextet For Cello & Winds

Samuel Barber's music has been important to me ever since I played in his "Summer Music" back in high school.

The other day, I was working with a poem about family and personal identity. Being stuck offered me the opportunity to sit with my stuckness... Lo and behold, Barber's "Knoxville, Summer of 1915" popped into my head. 

I listened to the first recording that came up in my search and was spellbound by the performance, both of the soloist and the ensemble. They performed without a conductor. 

Being so taken with this performance, I looked up the soprano and asked if she might be willing to critique a piece of mine... She generously said "yes."

So the next morning, I wrote the music to "Shards," a poem I had written a few days before after being inspired by pianist and lecturer, Katherine Svistoonoff. She spoke about the Japanese art of remaking a broken ceramic piece by mixing the shards with gold. This image stayed with me for days... thinking about how we all get broken and how it might sometimes be possible to recast ourselves with something new.

I have often felt bad about stupid things I do. Thanks to Katherine, I am able to see this as yet another opportunity to grow in a healthy direction -- towards the sunlight.


***
Ancient
An ancient Asian art
Shards 
smashed pottery
Broken 
Still colorful
sharp shards smashed pottery
Still…. Sharp… still…
Stillness
Proud, humbled in infinite stillness
Smelted, recast with gold. 


Tuesday, April 11th, 2023

Shards

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 was written for 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.😊

Devil's Dozen

Lyrical, building gradually, this concerto was written for my friend, trumpet player, teacher, conductor, composer Dr. Richard Titone.

The first movement is a tribute to the work of John Barnes Chance.

Concerto For Trumpet & Symphonic Band Mov. I

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 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

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.

Devil's Dozen

Kenneth Lieberson

Related tracks