![]() ![]() ![]() David Patrick Stearns, Philadelphia Inquirer, March 2011ĭescribing his approach to composition, Jonathan Leshnoff acknowledges the preeminence of harmony and melody. Next to the Ibert and Mozart concertos Khaner also plays, this new work is quite a welcome alternative-and makes one look forward to the oratorio Leshnoff has written for next month’s festival. ![]() He comes to his language with an underlying toughness not always heard in his like-minded contemporaries…The piece has great clarity of intent, even in more complicated fast movements, which the composer tends to anchor around pithy motifs whose transformation shows off his sense of invention. Though in the neo-tonalist camp, Leshnoff’s concerto never feels like a re-run, or in the least bit inauthentic. One hears a flood of historical influences as well as similar peer voices within this Flute Concerto though one need not parse out what’s identifiably only Leshnoff, unvarnished, to enjoy this credible work. Stephen Brookes, The Washington Post, January 2013īut within the confines of that aesthetic, and like with his earlier Violin Concerto, the most elusive attribute for Leshnoff as a composer remains a uniquely identifiable voice. Leshnoff is clearly one of the more gifted young American composers around kudos to the Fairfax players for showcasing his music. Written just a few years ago, it’s a shimmering and absolutely beautiful work, awash in the iridescent colors. But for sheer sonic beauty, the high point was Jonathan Leshnoff’s Flute Concerto. ![]()
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