American composer Lowell Liebermann (b. 1961) wrote his Three Impromptus Op. 68 in 2000. They manifest his self-proclaimed intention to be a composer espousing the traditions of Western music and aiming to be part of that continuum. Liebermann’s Impromptus exhibit spontaneity and a sense of improvisation, the most pervasive aspect of the antecedent Impromptus. His personal lyricism embraces tempo rubato, inventive harmonies, distinctive textures, and dramatic gestures. Liebermann’s Impromptus, however, are tightly organized works employing simple motives that unify individual Impromptus within a basic tripartite template. This study begins with a brief summary of Liebermann’s life and then examines antecedent examples of Impromptus by Jan Vaclav Voříšek (1791-1825) and Franz Schubert (1797-1828) as well as some of the prominent composers from the 19th and 20th centuries, including Gabriel Fauré. A thorough analysis of Liebermann’s Impromptus constitutes the body of the document. Appendices contain transcriptions of the author’s interview with the composer himself, as well Antonio Pompa-Baldi and David Korevaar who have performed and recorded the Impromptus. These contemporary commentators confirm the value of comparing Liebermann’s music to earlier models to better understand how he creates his unique sound environment
