Jonathan LESHNOFF (b. 1973)
Four Dances for String Quartet (2014) [14:41]
String Quartet No. 3, the “Miller-Kahn” Quartet (2011) [21:27]
String Quartet No. 4 (2011) [17:54]
Carpe Diem String Quartet
rec. 2016/2017, Towson University Center for the Arts Recital Hall, Maryland; Grusin Music Hall, University of Colorado, Boulder; Powell Methodist Church, Powell, USA
MSR CLASSICS MS1765 [54:02]
Baltimore-based Jonathan Leshnoff is among the more prominent voices among the younger generation of contemporary American composers. The works here, none written before 2011, are quite lyrical, well crafted, and in the end rather conservative in their expressive language. While one might occasionally identify certain stylistic aspects in them as similar to those of another composer, it must be said that Leshnoff is not an imitator or beholden to a particular style or school of music. Rather, he etches out his own voice, and in these works he does so in a mostly cosmopolitan way. Those unfamiliar with Leshnoff and hearing these compositions for the first time would likely never guess his nationality, and clearly not suspect he was born and raised in the United States. I think Leshnoff's orchestral works, however, do show traits, especially in orchestration, that are identifiable as American, and also divulge a Jewish mystical and spiritual side. To me, he's one of the more interesting and talented contemporary composers.
Leshnoff earned bachelor's and master's degrees at Peabody Institute and a doctorate at the University of Maryland. Currently, he serves as professor of music at Towson University in Maryland. He has produced a large body of music and in many genres, including symphonies, concertos, and oratorios as well as band, chamber, choral, vocal and solo instrumental works. Here, in these three chamber pieces, one finds the composer moving from the sometimes lighter moods in the Four Dances to the more serious and epic character of the string quartets. All were written on commissions from various sources and each had inspirations of rather unique background: for example, the springboard for the Fourth Quartet was a recorder recital attended by the composer wherein his daughter performed. But I won't delve too much into these kinds of details because it's the music that matters most here.
The opening work, Four Dances, begins with Waltz, which features a mixture of elegance and exoticism in its somewhat dark mood. Yet, you sense a bit of mischief and humor here, almost as if this clever sort of “night waltz” is a bit of a tongue-in-cheek affair. The ensuing Pavane is more serious, beginning somberly but then presenting a rather attractive wistful theme. After the restless middle section the main theme returns a bit more subdued yet more intense.
Chas Dance follows, its title derived from the nickname of the Carpe Diem Quartet's first violinist, Charles Wetherbee. It's an attractive, very energetic piece propelled by pizzicato rhythms and is quite terse (1:44). The closing dance, Furlana, is paced breathlessly throughout, retaining all the energy from the previous dance and more. There are some interesting rhythmic features here, especially in the bustling manner that leads to somewhat halting, emphatic chords midway through as well as near the end. Overall, this and the Pavane are the most effective of the four movements comprising this work.
As mentioned the quartets are a bit more serious. The Quartet No. 3 carries the subtitle “Miller-Kahn”, which refers to the man who commissioned the work, Harris Miller, and his wife, the dedicatee Deborah Kahn. Marked Grave, the opening movement, nearly twelve minutes long, may strike you as a lament on some loss or tragic event, its beauteous gloom unrelieved throughout but with much intensity in the middle section. At the beginning a motive is presented that expands into other areas and also is heard in the remaining two movements. The ensuing Romance is much lighter, but quite elegant and also a bit dark. It is brief (2:20) and seems at times to want to become a waltz, a quite elegant one. The finale brims with energy and has many catchy rhythmic aspects, though you can notice an echo of Shostakovich in them at times. It's colorfully scored and quite exciting to the end in its energetic and breathless drive.
The Fourth Quartet is cast in five continuous movements and begins with a somber but very brief Largo (1:29). There follows a highly kinetic and anxious movement simply marked Fast. While it does not sound stylistically like Prokofiev, the music seems in the spirit of his famous Toccata for piano, though with a grimmer aspect, as if it is fleeing desperately some hellbent pursuer. A brief moment for the music to catch its breath comes midway through, but the headlong momentum returns and the end comes with the anxiety unresolved. The ensuing panel is marked Slow and pure and recalls the somber mood of the opening movement, but presents a songful lyrical theme of mournful character. Tension gradually develops but the gloomy mood returns, though now with greater passion and regret. Towards the end the music takes on a more energetic spirit for the arrival of the Fast fourth movement, where the various themes in the quartet reappear in this short-breathed (2:09) re-working of them. The finale returns to the Largo marking of the opening and also, at 2:40, is quite brief. Oddly, the music seems to pick up precisely at the point where the opening movement ended, as if the three movements in between were but a dream that interrupted the bridging of the outer panels. A brilliant formal stroke!
The Carpe Diem Quartet plays brilliantly in all the works here, sounding as if its players understand this composer's music intimately. Indeed, it was this talented group who premiered the Four Dances and Fourth Quartet, and the composer tells us in the album notes that the latter piece's “dramatic moments...were written with Carpe Diem's flair and verve in mind.” So, it is no surprise the members play this music with “flair and verve” and seem utterly convincing in each work. Despite the varied recording locations, the sound reproduction on this MSR Classics CD is quite good, featuring fine balances and plenty of clarity. It's no surprise then that each work was recorded, edited and mastered by the same sound engineer, Ed Thompson. Because these are all premiere recordings, there is no competition with which to make comparisons. But I doubt this level of playing would be surpassed in any significant manner by another group anyway. Yes, there was room for another work, but I can say that if accessible contemporary chamber music has appeal for you, you'll find this a quite rewarding disc.
Robert Cummings
Performers
Charles Wetherbee, violin I; Amy Galuzzo, violin II; Korine Fujiwara, viola; Carol Ou, cello
