Like many of music history’s traditional classical music composers, Lowell Liebermann doesn’t only compose, but he also performs. Not limiting himself to playing his own compositions, he also dedicates some of his time to the works of other composers. To my mind, this informs Liebermann’s attitude towards composing, and shows his deep connection to classical music in general. "I understand what pianists go through, so I am very sympathetic, and the exchange with the performer of my compositions becomes much easier and more meaningful. Due to the emphasis on specialization in America, we have unfortunately created the phenomena of composers who are not active performers themselves. I think that this often results in losing touch with the physical joy and the direct connection to the active process of performing," says Liebermann. "Most performers of my premieres have adhered to extremely high performance standards, but I don’t really write for a specific performer, otherwise it won’t fit anyone else. Ida Kavafian, renowned violinist and violist and member of the piano quartet Opus One, who also serves as Artistic Director of the Angel Fire Festival in New Mexico, says about Liebermann: "Mr. Liebermann is not only an extraordinary composer, but also an outstanding pianist. It has been wonderful playing his music in groups with him, and in our piano quartet, Opus One. This summer, we premiered his Quartet for Piano and Strings, op.114 (2010), at Angel Fire; my festival had commissioned him to write a work of his choice as part of his composer-in-residence participation" (notes thanks to Ilona Oltuski/Get Classical). Watch a performance of Lowell Liebermann's Quartet for Piano and Strings (2010) played by pianist Joyce Yang, violinist Giora Schmidt, violist Lily Francis, and cellist Felix Fan . . . one of this week's FEATURED NEW MUSIC VIDEOS.

R. Murray Schafer is Canada's pre-eminent composer and is known throughout the world. In an era of specialization, Schafer has shown himself to be a true renaissance man. He has won national and international acclaim not only for his achievement as a composer but also as an educator, environmentalist, literary scholar, visual artist and provocateur. A prolific composer, he has written works ranging from orchestral compositions to choral music as well as musical theatre and multi-media ritual. His diversity of interests is reflected by the enormous range and depth of such works as Loving (1965), Lustro (1972), Music for Wilderness Lake (1979), Flute Concerto (1984), and the World Soundscape Project, as well as his 12-part Patria music theatre cycle. His most important book, The Tuning of the World (1977), documents the findings of his World Soundscape Project, which united the social, scientific and artistic aspects of sound and introduced the concept of acoustic ecology. The concept of soundscape unifies most of his musical and dramatic work, as well as his educational and cultural theories. Schafer was the first winner of the Glenn Gould Prize for Music and Communication as well as the Molson Award for distinctive service to the arts. In 2005 he was awarded the Walter Carsen Prize, by the Canada Council for the Arts, one of the top honours for lifetime achievement by a Canadian artist. Listen to R. Murray Schafer talk about soundscapes and composing . . . it's our COMPOSER PORTRAIT for the week.

According to Francois Couture (All Music Guide), "No matter how you present it, composer/guitarist Gyan Riley's Food for the Bearded is one beautiful, heartwarming album. Gyan Riley comes through as a sensible instrumentalist and a composer as unclassifiable as his father, Terry Riley. Elements of Spanish classical, contemporary, French jazz, and Indian classical music all become part of [his] style. Gyan Riley emphasizes musicality over novelty without sacrificing creativity in the process." Listen to Quasitremelodo, from the Sonata Quasifantokastica (2001) - a selection from Gyan Riley's Food for the Bearded  . . . it's one of our PYTHEAS EARFULS for the week.

Alexandra Gardner is stirring up modern music circles with her innovative blend of instrumental and electronic music. Her mixed ensemble works have been championed by groups such as the SOLI Chamber Ensemble, Contemporary Music Forum, Percussions de Barcelona, Duo Levent and the Aspen Contemporary Players. Her music has been featured at festivals and performance spaces throughout the US, Europe and Japan, including the Akiyoshidae International Art Village, Centro de Cultua Contemporania de Barcelona, The Corcoran Gallery of Art, Joyce SOHO, CrossSound Music Festival, The Library of Congress and The Kennedy Center. She has worked extensively with modern dance choreographers, including collaborations with Liz Lerman Dance Exchange, Sharon Mansur, and Deborah Riley Dance Projects. In addition to her residency in Barcelona, Gardner has been a composer-in-residence at Harvestworks Digital Media Center, The Atlantic Center for the Arts, and The MacDowell Colony. Listen to Alexandra Gardner's Luminoso (2003) performed by guitarist Enrique Malo . . . this week's FROM THE PYTHEAS ARCHIVES.