Julie's Recordings
of Original Music 




Julie Lyonn Lieberman composed and performed the music for the Off Broadway show, The Yellow House. It debuted at Trinity College, moved to La Mama in NYC for a month, and was then selected for a month of performances at Theatre of Nations. Her composition, Ben's Millenium Romp, was commissioned by the Manchester Music Festival alongside compositions by Tania Leone and David Amram.  She has also composed and recorded melodies and backing tracks for her books, Rockin' Out with Blues Fiddle, A Festival of Violin & Fiddle Styles,  and The Contemporary Violinist, as well as for her string orchestra scores published by Excelsia Music (originally Kendor Music, Alfred Music, and Carl Fischer. You will find Julie's violin on Laura Nyro's album, Mother's Spiritual, on off-Broadway composer Richard Peaslee's dance score for the Pilobolus Company, on a project for then guitarist/vocalist for the Paul Winter Consort, Jim Scott, on an album by New Kids on the Block, for the theatre company, Emmatroupe, and Music Together's Fiddle album. She was the composer-in-residence for several series at New York’s prestigious City Center. Ms. Lieberman composed for and performed with such theater companies as Emmatroupe (America’s first feminist theater company), The Magic Circle Opera Company, Imaginations Unlimited, and the Women’s Ensemble Theatre. Compositions for dance include Sundance, The American Spanish Dance Company, and choreographers Merian Soto, Judy Dworin, and Holly Fairbanks. Julie also composed and recorded the music for the exercise video, BodyLogos.

Mixing America reviews

Julie Lyonn Lieberman is a musical blacksmith who brings to her forge many tools to create beautiful, solid pieces of art. Styles vary from Broadway to world music. The performances on this album are exceptional. All of the musicians and vocalists on this album deserve an immense amount of credit for their work. As most great albums, Mixing America improves the more you hear it. The melodies and harmonies grow more enchanting with repeated listening.
— Stephen McClurg, The Harbinger

Lieberman wraps it all up into an expansive musical tapestry that incorporates both standard and exotic timbres, excellent compositional devices, and some of the strangest vocal affectations I’ve ever heard…. I haven’t heard many modern composers outside of film that are able to develop thematic material like this over such a varying stylistic palette. It really showcases her versatility and knowledge of the compositional process.
Northeast Performer: Matthew Bowman

…singer and violinist Julie Lyonn Lieberman has put together an eclectic collection of art songs ranging from dramatic commentaries on society’s ills to several fine tributes to modern jazz. The lyrics are powerful and thought provoking; no surprise, coming from this prolific author of instructional books and tapes covering the history and practice of violin improvisation in the areas of folk, blues, swing, jazz, and New Age music. There is some fine jazz work here…. Lieberman’s singing is at its best when she’s singing wordless vocals in unison with her violin artistry or performing a painful social commentary with dramatic overtones.
— Jim Santella, L.A. Jazz Scene

This experienced jazz musician, teacher, and author has created a fine CD that delivers some unusual written lyrics, powerful vocals, and violin playing that is incredible…would be ideal movie soundtrack material.
— IQ Demo Review

Empathic connections Reviews

Chosen for New Music America festival!

It’s a new kind of music, something like High Drone.
— Stephen Davis, New Age Journal

Julie is not afraid to incorporate dissonance into the evolving soundscape, which is perhaps why the work is able to penetrate so deeply into one’s inner space. Empathic Connections is highly focused for an improvised work – simple, clear and very effective.

— Ramana Das, Yoga Journal

RECORDINGS AVAILABLE ON ITUNES and other distributors across the web!

In this recording, violinist, singer, and composer Julie Lyonn Lieberman leads a haunting foray into the deeply spiritual challenge we face as a nation comprised of dozens of diverse cultures, languages, and beliefs.

Mixing America views the state of our nation from the perspective of Eagle Bones, a Native American shaman murdered while defending his people, his spirit long incarcerated by the glass case that displays his skeleton in a national museum. We see through his eyes the America we’ve created: the self-righteousness that we call racism (The Tree of Thorns); drug addiction, as The Sandman lures us to sleep-walk through our lives; families that fail their children (Orphan Boy) as poverty, hopelessness, and the complexities of immigration overcome them.

Yet incredible richness and vitality are inherent in our diversity (Mixing America), and there is the power of art (Fiddle Sing For Me) to inspire and guide us, to keep the creative heartbeat pulsing in us all (Lady Bop, dedicated to Betty Carter)

Personnel: Julie Lyonn Lieberman, violin and voice; Armen Donelian, piano; Dan Kleiman, synthesizer; Jeff Eckels, bass; Steve Johns, drums; Tigger Benford, percussion. Vocalists: Toby Twining, Joan Henry, Shi-Zheng Chen, Tiye Giraud, Mark Johnson, Gregory Purnhagen, and Rebecca Weintraub.

This music is a spray of sea water on a brilliant sunny day.


It’s a new kind of music, something like High Drone.
— Stephen Davis, New Age Journal

Julie is not afraid to incorporate dissonance into the evolving soundscape, which is perhaps why the work is able to penetrate so deeply into one’s inner space. Empathic Connections is highly focused for an improvised work – simple, clear and very effective.

— Ramana Das, Yoga Journal


Julie Lyonn Lieberman (electric violin) and Laraaji Venus (electronic zither) travel through new musical geography: neither earthbound nor sky-bound… someplace in between.

Julie was inspired by reading about the Orange-red star, Arcturus. Across time this star has been referred to as “Smat,” meaning One Who Rules, and also “Bau” meaning The Coming One. It is considered one of the brightest stars in the northern hemisphere.

In 1936, when the earth and Arcturus rotated into a new relationship, it was thought that this produced “akasha,” a high-energy transfer of cosmic influences. Edgar Cayce, the sleeping prophet, often referred to Arcturus as “HIS star.” Cayce maintained that when Jesus left earth, his spirit traveled to Arcturus.

Julie Lyonn Lieberman stumbled across this information while conducting research for her book, "You Are Your Instrument." She imagined that Arcturus’ energy and intense orange light could affect the evolution of any human receptive to its powers. Artists often serve as visionaries and guides. It was her hope that the music inspired by this star might radiate listeners to ecstatic states of being.


Personnel:  Julie Lyonn Lieberman, voice and violin; Marty Quinn, percussion; Omar Mesa, guitar; Nancy Chusid, oboe; Steve Browman, piano; Joe Solomon, bass.

This album is an ode to mother earth. It is a musical story that focuses on a girl who lives in the inevitable future. Oxygen is precious, animals are extinct, and the planet is dying. She journeys into a failing forest and one of the last of the ancient trees conveys the music of the birds. The tree becomes a violin and she transforms into the Roaring Brook Fiddler. Through music, she is able to bring the dying planet back to life. It is a project that became a mission—wound its way into my heart quite unintentionally toward the end of 1983.

After a torrent of horrifying news about the environment in the early 1980s, I searched for something I could do while driving back from a week of performances in Washington D.C.’s Discovery Theatre. How can one person help rescue our ailing planet? I stared at the black highway as I drove through northern Pennsylvania. Trees had been clear-cut for miles and replaced with grass. My violin only speaks to a room full of people. As I entered New Jersey, I could smell pollution from the factories and see garbage floating in the wetlands. How can I convey the preciousness of our planet? I began to drive past a stretch of ugly factories spewing foul-smelling chemicals. Why do we find it acceptable to replace natural beauty with an ugliness that assaults all of our senses and makes us sick?

As I continued driving, I found myself musing over a book I’d read earlier that year, The Finding of the Third Eye, by Vera Stanley Alder, in which she put forth a theory I’d not heard before: according to her, in spring, the birds sing throughout the day and the vibrations of their calls assist the growth of the leaves. Once the leaves are full-grown, the birds reserve their songs for morning and dusk to help the trees with oxygen production. I was moved by this cooperative relationship since the trees, in return for the birds’ aid in their growth, provide their flying friends shelter all year round.

A musical story began to form in my mind called The Roaring Brook Fiddler, the story of a young girl from the “inevitable future” … the future, as it would be if the human race continued behaving as it has. She lives in a glass city with pumped-in oxygen because all the natural oxygen has been depleted. The local zoo runs movies of animals because there are very few left on the planet.

Personnel:  Julie Lyonn Lieberman, voice and violin;  Dave Samuels, vibraphone; Rufus Reid, bass; Stephen Browman, piano; Geoffrey Gordon, percussion; Martin Quinn, drums; Erik Friendlander, cello.

NOTE: After its debut concert and the making of this album, I worked on a national music education project called The Green Anthem. Its lesson plans and theme song eventually reached six million children through The World’s Largest Concert, an event staged by National Association for Music Education (NAfME).