Jonathan LESHNOFF (b.1973)
          Symphony No. 4 Heichalos (2017) [21:07]
          Guitar Concerto (2013) [25:04]
          Starburst (2010) [7:58]
          Jason Vieaux (guitar)
          Nashville Symphony Orchestra/Giancarlo Guerrero
          rec. 2016/18, Laura Turner Concert Hall, Schermerhorn Symphony Center, 
          Nashville, USA
          NAXOS 8.559809 [54:46]
          
          American composer Jonathan Leshnoff sets out his stall in no uncertain 
          way with his Symphony No. 4. The music blitzes along with components 
          suggesting familiarity with John Williams, Bernard Herrmann, William 
          Schuman and Elmer Bernstein. He does not set out to be difficult. The 
          work was written for the 
		Violins 
          of Hope, a collection of restored instruments that survived the 
          Holocaust; you are not aware of their presence. The notes assert that 
          “The composer draws inspiration from an ancient Jewish mystical 
          text, Heichalos, to explore spiritual and ethical questions 
          at the heart of the Jewish experience.” This score forges its 
          own free path avoiding simplistic semitic DNA and not sounding like 
          Bloch in his Avodath Hakodesh¸ Violin Concerto, Schelomo 
          or Voice in the Wilderness. It is in two movements. The first 
          is dynamic and pummels in much the same way as Philip Glass’s 
          Second Symphony. The second delights in serenity. The benediction of 
          bells is borne leisurely on high by the strings somewhat in the manner 
          of Barber’s Adagio and Howard Hanson’s Sixth Symphony. The 
          music ends gently - half murmur, half heartbeat.
          
          The three-movement Guitar Concerto is bejewelled 
          and does not seek to distance itself from Rodrigo; quite the contrary. 
          It’s played by Jason Vieaux with the breathless concentration 
          of an adept. The recording appears to pick up every nuance and effervescent 
          ascent and descent. There’s a lot going on in this work - none 
          of it recalcitrant. Starburst - a firework 
          of a calling-card - looks in its brilliance of detail and dazzle of 
          texture to the example of Walton but mixed again with Hanson. There’s 
          also another kinship and it’s with Michael Daugherty who has also 
          been championed by Guerrero 
          and Naxos in Nashville.
          
          Leshnoff was born in New Brunswick, New Jersey and studied at Johns 
          Hopkins, the Peabody and the University of Maryland. His music has found 
          a ready home on CD with Naxos (two other orchestral discs and a chamber 
          one). While there is no sign of the Third Symphony as yet, the First 
          has been done by Naxos and the Second by ASO Media in Atlanta. Brian 
          Wilson has already written in warm terms about the Cello Concerto. 
          There are ten concertos and four oratorios so far and further Naxos 
          instalments would come as no surprise.
          
          Rob Barnett