June 16, 1992

New York Times publishes a harsh response to the premiere of the three piano concertos, by┬ámusic critic Bernard Holland, who lists the composers without much reverence: “Lalo Schifrin, a maker of background music for Hollywood thrillers, Rodion Shchedrin, a top bureaucrat in the oppressive old Soviet composers union, and Lowell Liebermann, a member of a new and opportunistic American merchant class eagerly marketing its brave new world of nostalgia.”