| david leisner guitarist and composer |
| Performer Press Quotes “He moved easily through the brisk passagework and sharp accenting of the Ginastera Sonata, and his approach to the work’s many coloristic effects was remarkably fluent and free-spirited. In more lyrical music . . . he played with an affecting gracefulness and warmth.” The New York Times “Throughout the recital, Leisner played with heightened beauty of tone, flexibility of phrasing and detailing of nuance. He drew numerous colors from the instrument and spanned a spectrum of dynamics and atmospheres. His playing was intimate yet full of character . . . It was an exhilarating display of artistic intelligence and control.” Cleveland Plain Dealer “Make no mistake, David Leisner is a conspicuously gifted guitarist . . . Leisner brought a startling poise and lucid grace to Bach Lute Suite No. 1, and neatly defined the balance of rawness and sophistication in Four Etudes of Heitor Villa-Lobos . . . ” The Los Angeles Times “He was never just a guitarist but a lively, inquiring, original musical personality that had found its voice in the guitar; that mind was everywhere evident Sunday night, and there was some very fancy guitar playing on display, too." The Boston Globe “To his brilliant technique, his solid sense of rhythm, his fertile musical imagination, David Leisner added the pleasure of a program that was as exceptional as his playing.” Le Soleil, Quebec City "The Piazzolla [Double Concerto for Guitar, Bandoneon and Strings] profited from two absolutely splendid soloists. David Leisner played the guitar, Peter Soave the bandoneon. Their parts are elaborate and difficult and were made to breathe with great naturalness." The New York Times "A totally unselfconscious virtuoso who gently and undemonstratively led the listener into thrilling and deep emotional spaces." Classical Guitar "ONE OF THE TOP 10 CD'S OF 2000...Leisner clearly has the inside track with the Etudes, 5 Preludes, Choros No 1 and Suite Populaire Bresilienne, understanding them from the perspective of both a composer and a performer of utmost taste and control. The performances of the more familiar works squash the competition, while the Etudes prove enduring, listenable fare. No serious classical guitar fan should be without this disc." Tucson Citizen “Scampering literally from one end of the guitar to the other, Leisner became playful, soulful, songful, as the music demanded.” Albuquerque Journal "One of the most respected and versatile figures on the guitar scene, Leisner added an element of intense passion to the evening...How could one fail to be moved by his commitment and his artistry?" Soundboard “Leisner projects a strong personality and great musicianship . . . His overall shaping of phrases, warm tone quality, pacing and rhythmic drive are unquestionable.” American Record Guide "Leisner's phrasing has a natural, breathing quality that is free of the bombast that can often weigh down this music [Bach]. This is demonstrated by the way he uses ornaments to propel the melody forward. The result is a recording that reveals the music's intimate joy." Acoustic Guitar "Leisner's superb technical mastery is complemented by a generosity of spirit and amplitude of phrasing that brings a unique humanity to this familiar music. Hard to explain, but it makes you feel as if you were meeting Bach, not just his music. Maybe it's Leisner you're meeting, but the effect is special indeed." Southern California Early Music Society Magazine "One of the more interesting guitarists on the United States scene and an esteemed interpreter of the Bach repertoire...Leisner's performances are very well thought-out and are characterized by a great attention to sound. The phrasing is beautifully shaped and within it, a polyphonic and phraseological discourse flows with great naturalness. On the repeats, the guitarist lets go with numerous ornaments, executed with taste and a superb command of the instrument." Guitart (Italy) “David Leisner is the most painterly of classical guitarists, a tone-colorist of the first water.” San Antonio Express-News “Leisner is one of the guitar world’s finest advocates . . . Leisner’s account [of the Bach Cello Suite No. 3] was heavenly.” Arizona Daily Star “David Leisner is a triple-threat performer” The New York Times Reviews Guitarist Plays Old And New With Mastery Hartford Courant, CT By Phil Salathe, November 20, 2006 "During his concert Saturday night at Central Connecticut State University's Torp Theater, classical guitarist David Leisner referred to the Hartford area as his "old stomping grounds." Performing under the auspices of the Connecticut Classical Guitar Society, with an eclectic program that mixed the old with the new, Leisner played with the confidence and mastery of a man entirely at home. Leisner began with Wenzeslaus Matiegka's Sonata in B minor, dating from the early 19th century. Even in a room full of guitarists, one suspects there were few who had heard of the composer, let alone of this particular piece; as there were no program notes, we in the audience were forced to listen to the music "as is," without preconceptions. There's an entire cottage industry devoted to obscure composers from the 18th and 19th centuries and their works, all too many of which turn out to be bland, banal, or otherwise undistinguished. Matiegka's Sonata, however, is not one of these. A piece in many ways reminiscent of early- to mid-period Beethoven, it was elegantly written and classically proportioned, but with a rhythmic and dramatic invention that, like Beethoven, takes pleasure in confounding our expectations. Leisner's enthusiasm for this music is evident, and his interpretation was fluid and assured, with a rich variety of articulations and colors. Next was J.S. Bach's "Prelude, Fugue, and Allegro,"a piece originally written for lute and arranged by Leisner for guitar. Some performers seem to labor under the misconception that, once its technical difficulties are overcome, a Bach piece will somehow magically "play itself," as in a music box. Nothing could be further from the truth, of course, and Leisner brings a welcome interpretative subtlety to this music. A pair of Scott Joplin pieces concluded the first half. Leisner's skillful adaptation of the famous "Maple Leaf Rag" proved that one can adapt Joplin for the guitar without sacrificing any of its counterpoint or rhythmic drive. The bulk of the second half was devoted to Leisner's "Nel Mezzo" - "In the Middle" - a solo guitar sonata of formidable scope featured on his recent CD, "Self-Portrait" (Azica Records). Taking its title from the opening lines of Dante's "Divine Comedy," the piece is frankly autobiographical, written during a self-described mid-life crisis, after overcoming a debilitating hand injury that nearly ended his career. Leisner refers to "Nel Mezzo" as being fundamentally tonal, but this description is perhaps deceptive. One is reminded more of a composer such as Benjamin Britten, whose music is deeply informed by the principles of tonal music, but not necessarily governed by its grammar. It's a well-constructed and darkly humorous work in which the diminished seventh chord - built, of course, from "devilish" tritones - figures prominently. Its stark contrasts and obsessive character also bring to mind another guitarist-composer, Hector Berlioz. This resemblance was particularly noticeable in the third movement, "No!", which juxtaposed violent, almost frantic strumming with passages of exquisitely delicate artificial harmonics." Classical Guitar By Tim Panting, June 2005 "A familiar face to many CG readers, David Leisner's smiling visage seems to show a man full of vitality and oozing reassuring calmness; a quality that is second nature to great communicators. But his story, which is going to be hard to disassociate from, having recovered through unbelievable determination and self belief from the crippling hand injury, focal dystonia. However, it appears to have been a full recovery through the rehabilitation and reserach into the physical aspects of technique that Leisner has arrived at. No one in the audience would have had the faintest inkling of this previous handicap, for Leisner is an immaculate player. The first item, uniquely being aired by Leisner, I think, was the Grand Sonata No. 1 by Wenzeslaus Matiegka, a name only known to me through some menuets published half a century ago. The story attached to Leisner getting hold of the piece is interesting. After discovering a manuscript, carefully handwritten by a certain Stephen Pratten, and assuming it was he who had written the music, it was while in Australia that after playing the piece in concert he was drawn to the fact that this was indeed by the Bohemian composer Matiegka and that Pratten had merely copied it out, from a source unknown. Anyway, Leisner has made the piece his own and lovingly furnishes the industrious construction with a deep understanding. Harmonically and rhythmically it does not leap out, but the ideas are most succinct and Leisner really does bring a slice of 19th century salonistica to life; especially in the charming étouffée-embellished cadenza. Bach's Prelude Fugue and Allegro BWV 998 one of his most appealing works currently performed on the classical guitar, was played with, again, a great sense of form. Leisner does not rush the lines and allows the tension to build throughout. Two sparkling pieces from Mertz, Sehnsucht and Tarantelle ended the first half; as Leisner pointed out that Mertz's virtuosity was matched by his compositional gifts and that his music outshines his great predecessor Sor, understood to be the greatest 19th century [guitar] composer. After the break Leisner played one of his own compositions, Nel Mezzo ; a paean to the mid-life crisis, to put it rather crassly. This three-movement work was, as one might imagine, quite restless and searching. With a furious 'toccata of chords' and a rondo with quotes from the lullaby 'Hush-a- bye', it was an unsettling work, which may be a theme in progress! After the Valsa-Chôro from Villa-Lobos's Suite Populaire Brésilienne , Leisner played two delightful Scott Joplin rags, The Chrysanthemum and the Maple Leaf Rag ; his own arrangements, intricate but highly functional, lovely stuff. An encore of Villa-Lobos's Etude No. 7 rounded off yet another fine concert in the West, organised by Chris Gilbert and Tim Royal from the Spanish Guitar Centre, Bristol." Fully recovered from hand injury, his performance was full of warmth Gendai Guitar Musashino Civic Recital Hall, Tokyo By Hajime Matsuzaka, September 2004 "David Leisner is an American guitarist who is appearing in Japan for the first time. Born in Los Angeles in 1953, Leisner studied with John Duarte, David Starobin and Angelo Gilardino. He won 2nd Prize in the Toronto International Guitar Competition in 1975 and was an award winner in the Geneva International Guitar Competition in 1981. During the 1980's, he had a hand injury and couldn't play for 12 years, but he is now totally recovered. (This concert was proof of that). In addition to his performance career, Leisner has an important career as composer and teacher. He teaches at the New England Conservatory and the Manhattan School of Music. (Soichi Muraji is one of his students). Tonight's program began with two Schubert Lieder, Ständchen from Schwanengesang and Die Post from Winterreise, arranged for the guitar by Mertz. Leisner's performance had a wonderful singing quality, vividly expressing Schubert's Romanticism. The clear and beautiful tone produced by the American-made John Gilbert guitar was also impressive. His own work, Four Pieces (Prelude, Episode, Ritual and Dance), was originally written for Benjamin Verdery, who came to Japan in 2001. These imaginative pieces had elements of popular music, such as jazz and ragtime. They show off Leisner's great composition skills, and the performance was in perfect control, in part because they were the player's own works. Although Matiegka, who composed the following Grand Sonata No. 1, is known as the composer of the original version of Schubert's Guitar Quartet, D96, his works are seldom played today. Therefore it was significant that Leisner chose to program this piece. The 3-movement work was played in perfect Classical style. In the Chaconne after intermission, while one section may have been a bit heavily interpreted to this writer's taste, Leisner's sense of structure was firm and his straightforward approach to Bach's music was admirable. Ginastera's Sonata, op. 47, was appropriate for the program's finale, and was played vividly and beautifully, with spontaneous phrasing and a wide range of dynamics. Do the very natural and logical finger movements in general come from overcoming his hand problems? This performer has no shortage of technique, yet never sounds mechanical, and at the same time has indescribable warmth and a profound sensitivity. This depth was also apparent in the elaborate analysis contained in the program notes. However, this was no academic presentation, and the performance fully reflected the player's personality. Leisner played two encores by Villa-Lobos, Etude #12 and Prelude #3." OZarts Review Eileen Joyce Studio, Perth, Australia By Neville Cohn, , May 2004 "American classical guitarist David Leisner had a career rich in promise both as recitalist and concerto soloist until an arm, disabled by illness, put paid to his concert-giving for more than a decade. But sheer grit and literally years of concentrated effort to re-learn and re-master the guitar have paid off in the most substantial way. Leisner's renewed command of the instrument was glowingly evident at his recital for the Classical Guitar Society of W.A.. In this sense, Leisner is yet another in a succession of remarkable musicians who have triumphed over seemingly insurmountable disability. (Another guitarist, Django Reinhardt, for instance, had his left hand badly burnt but, deformed fingers notwithstanding, evolved into a superb interpreter in the jazz idiom.) Leisner's program was no easy ride. No soft option for this guitarist. No. This was one of the toughest assignments imaginable for even the most impressively equipped of musicians. And Leisner came through with pennants proudly flying. An account of Bach's famous Chaconne in D minor was peak of the evening. Originally conceived for unaccompanied violin, it is one of western music's most glorious achievements, an epic that has been transcribed for a number of different instruments. Larry Adler, for instance, played it on the harmonica - and Brahms made a piano arrangement of it to be played by the left hand only. Leisner has made his own transcription for the guitar - and what an awesome offering it was, with a command of the instrument so complete and seemingly effortless that the instrument seemed more an extension of Leisner's being than an inanimate construction of wood, varnish, glue and metal strings. Certainly, his clarity of exposition, an ability to focus on the Chaconne's myriad intricacies without losing sight of the work's grand design - and the range of tonal colourings drawn upon - made this one of the most uplifting guitar offerings I've experienced in years. It's a lengthy work, one of Bach's noblest offerings, and the audience paid Leisner the honour of listening to him in absolute silence. Argentinian composer Alberto Ginastera's Sonata for guitar occupies a very different mood and sound world. Here, Leisner could barely be faulted, adapting to the work's stylistic subtleties as if to the manner born, expounding its often villainously demanding musical argument with an irrefutable logic and often-blazing virtuosity. Here, as throughout, Leisner played from memory. There was also a guitar sonata of uncertain provenance. It is believed to be by one Stephen Pratten (1799 - 1845) but music historians are doubtless yet to spill oceans of ink debating its exact origins. Whoever wrote it, it's an appealing, charm-laden work, often sounding uncannily like the guitar equivalent of some piano sonatina by Diabelli or Dussek. It deserves a permanent place in the repertoire. A fascinating program included arrangements of two Schubert lieder from Schwanengesang, the ubiquitous Standchen and Die Post, the haunting, bittersweet strains of the former a pleasing curtain raiser. The galloping, six-in-a-bar measures of Die Post, though, were less consistently convincing; not all the repeated notes 'spoke'. And of a suite of four pieces by Leisner himself, Ritual was particularly pleasing, coming across as a slowly unfolding extemporisation which gradually grew in intensity. Episode, too, made interesting listening, with its nervy quality, its syncopated rhythms and intricate work high on the fingerboard. All in all, this was one of the most satisfying recitals so far this year, presented in near-peerless fashion by a grandee of the guitar." Clever programme showcases American guitarist The Dominion Post, Wellington, New Zealand By John Button, April 23, 2004 "David Leisner is an American guitarist, giving master classes in Australia and New Zealand, and, as this concert graphically illustrated, he is a player of the front rank. The programme he played here was very carefully, and rather cleverly, chosen. The first half downplayed the more spectacular effects possible on the classical guitar, keeping the powder dry, then, with the second half, we heard the flowering of superb musicianship and a stunning mastery of all the various effects possible on what many think of as a rather limited instrument. Two Schubert songs, in arangements by 19th century musician J.K. Mertz, were not completely convincing without a voice, but Leisner's own Four Pieces displayed a quiet skill. A surprise packet was a sonata by completely unknown Englishman Stephen Pratten, composed about 1820. A highly competent piece, with, after a solid first movement, a fine andante and a spirited rondo finale. The second half opened with Leisner's arrangement of the Chaconne from Bach's Partita No. 2 for Unaccompanied Violin. It was superb Bach playing, playing of music that becomes extremely difficult as it progresses. The 1976 Sonata by the Argentinian composer Alberto Ginastera is, as Leisner suggested, a great work. Its four movements are a model of conciseness, yet within them there is a multitude of colours, and a range of moods, that are almost visual. It requires an absolute mastery of the instrument, and that is what it received here, highlighting a fine, satisfying recital." Classical Guitar Royal Academy of Music, London By Gerald Garcia, May 2003 "The irony of David Leisner's (somewhat paranoid) New York Times review, describing him as a "triple-threat performer" could not have been more poignant during the time that he was cruelly stricken by focal dystonia, when he was unable to play for 12 years. Music making is not normally perceived as a threatening activity unless the performer causes himself an injury. For some time, Mr. Leisner was still able to perform demanding works such as the 12 Villa-Lobos Etudes and the Rodney Bennett Sonata using only thumb and forefinger, surely a feat of determination in itself. Seven years ago, through patient analysis and willpower, David Leisner fully cured himself and has come back with a vengeance. This recital showed a totally relaxed musician, in full control of all his faculties in a virtuosic display of the three qualities the New York Times could have been referring to - superb musicianship, intelligent compositional skill and a pedagogic but unpompous approach to programming. The programme consisted essentially of four starters follow by three substantial works. The number was Lou Harrison's short and good-humouredly unpredictable Serenade - Lou Harrison who died in February 2003 wrote lots of guitar music (including a piece for equal-tempered guitar) and was an associate of David Leisner's own composition teacher, Virgil Thomson. This was followed by a rarity - Lennox Berkeley's Quatre Pièces, written when the composer was a student of Nadia Boulanger in Paris between 1927 and 1932. The work was written for Segovia after his Paris debut in 1924 and is a foreshadowing of Berkeley's later solo guitar pieces (of which there are only two - the Sonatina and the Theme, Variations and Finale) in their allusion to French harmony, a predilection for jazzy rhythms and an instinctive grasp of the sound of the guitar. On the piano, these pieces would probably be an afternoon's work to learn, but they are tricky on the guitar. Mr. Leisner's sure treatment led us through them without any pause for thought. The Quatre Pièces are part of an important series of works (including unplayed works by Scott, Mompou and Torroba) recently discovered in Segovia's library by Angelo Gilardino. The bluesy fourth Pièce took us nicely into Freedom Fantasies, Leisner's interpretation of three spirituals. These were full of imagination and textural invention, by turns melodic and bitterly dissonant, but always referring to the roots of the guitar as an instrument of the people. To end the first part, we had the blockbuster, Mertz's Hungarian Fantasy. This is also music of the people in the sense that guitarists have more or less played it to death over the past few years. Why do people always play those first two chords in such a lumpen, respectful way? This is wild, dangerous music and needs to be played with a bit of braggadocio (or the Bohemian equivalent)! there were fireworks by the end, but in my humble opinion it seemed a missed opportunity to play either more from the newly discovered Segovia archive, some of Leisner's own pieces, or more of the Schubert Mertz arrangements - in short, almost anything else! In an ironic way, musical tastes have come full circle, as David Leisner was a pioneer of Mertz's music more than twenty years ago. Passing on to the second half, Bach's Chaconne, without its accompanying suite, was given an affectionately nostalgic reading - more Segovia via Busoni thatn the lusty South American Baroque import it originated from. So, no double-dotted dancing but rather a stately and noble processsion, which didn't miss a beat or nuance. This transcription led to two gems in the form of Das Fischermädchen and Liebesbothschaft by Franz Schubert and transcribed by Mertz, probably inspired by Franz Liszt's piano arrangements. Paradoxically, these pieces, rather than being an expression of a guitarist's pianist envy were here so beautifully executed, that any pianist would have given their right arm (or at least a few piano keys) to make them sound like this. If David Leisner was an architect in the Chaconne, here he was a jeweller - precise, bright and full of feeling. Untethered and in dramatic mood, the performer now took the audience to the highlight of the programme - the Sonata by Ginastera - majestic and playful, with effortless, rhythmic drive, this was one of the most convincing performances of the work I have ever heard, fully bestowing upon it the status of a great piece for the guitar. The encore was the twelfth etude by Villa-Lobos, played, I am glad to report, with full digital restoration! In sum, the performance was one of a totally unselfconscious virtuoso who gently and undemonstratively led the listener into thrilling and deep emotional spaces. Because of this, in contrast to the review mentioned above, I would prefer to describe Mr. Leisner as a "triple-treat" performer displaying sheer musicality, intelligent creativity and insightful pedagogy." David Leisner's imaginative, brilliantly played adaptations andante.com, 2001 By Leslie Gerber "David Leisner is an accomplished composer as well as a successful guitar soloist. Both of those abilities come into play in this collection of Leisner's own Bach transcriptions for guitar. The two lute pieces need only minor adaptations to fit the guitar; in the works for cello and flute, Leisner follows Bach's own lead, imitating the way the composer adapted his Fifth Cello Suite for the lute. Leisner adds independent lines of his own against Bach's music to create harmony and counterpoint that were merely implied in the originals - with completely convincing results. He also embellishes his repeats freely and boldly, as Bach himself or any good musician of his time would have done. THE RESULT IS SOME OF THE MOST STIMULATING BACH OF RECENT YEARS, BRILLIANTLY CONCEIVED AND PLAYED. Ironically, the recording quality sometimes makes the guitar sound rather like a lute, but that's a minor problem if any. A few tiny flaws in the playing suggest that this recording has been minimally edited. Perhaps that's why the performances sound so vital." Heitor Villa-Lobos: The Complete Solo Guitar Works – David Leisner, guitar; Alan Hovhaness: Spirit of Trees, etc. – Yolanda Kondonassis, harp, David Leisner, guitar Guitar Review, 2001 by Kristoffer Ricat "After a long injury-related hiatus, guitarist David Leisner has returned full strength to the world of performance in recent years - and if his latest recordings are any indication, his musicianship and technique are stronger than ever. The solo guitar works of Heitor Villa-Lobos (1887-1959) are some of the most familiar pieces in the repertoire, frequently performed and frequently recorded. Mr. Leisner stands heads above the crowd on this recording, providing startling new insight into music that many of us feel we know so well. Most immediately striking is Leisner’s recording of the Twelve Etudes, which are heard here for the first time in Villa-Lobos’ own 1928 manuscript version. Perhaps Villa-Lobos’ most harmonically and rhythmically adventurous pieces for the instrument, many guitarists unfortunately approach them as little more than technical exercises or showcases for speed and dexterity. Leisner dares to break the trend and approach them as music, allowing us to hear the lush harmonies and rhythmic interplay so crucial to making this repertoire come alive. First brought to attention in a 1996 article for Guitar Review by Eduardo Fernandez, the 1928 manuscript contains differences (as compared to the well-known 1957 published edition) ranging from tempo changes (as in Etude 6) to the disappearance of repeats (Etudes 1 and 2) to whole new passages of music (Etude 10). Leisner makes a strong case for these early versions, bringing out nuance in passages that many players would gloss over, showing us the compositional beauty inherent to them while always maintaining a virtuosic command of the material. Not to be overshadowed by the Etudes, this recording also contains sensitive readings of the Five Preludes, from the lyrical opening of Prelude No. 1 to the waltz/choro of No. 5, and the lively dances that make up the Suite Populaire Bresilienne and Choros No. 1. The American composer Alan Hovhaness (1911-2000) long traveled highly individualistic compositional terrain, unaffected by the trends of the twentieth century, writing music of sublime beauty. Combining elements of Oriental and Armenian music with his own personal modal style, his music achieves a mystic quality, which to the casual listener might border on ‘New Age’. While Hovhaness’ compositions may contain a harmonic language similar to that genre, they also encompass beautiful landscapes full of tightly wound canons, expansive chorales, and the balanced architecture of classical form. On the new Telarc recording of the harp music of Mr. Hovhaness, harpist Yolanda Kondonassis is joined by David Leisner for the world premiere recording of the sprawling 23 minute Spirit of Trees, subtitled Sonata for Harp and Guitar. A gorgeous work in five movements, the piece is based on the Baroque form of the sonata instead of the more familiar Classical structure of the same name. The opening movement begins with a thematic melody which is gently echoed between harp and guitar. This leads to the chordal mid- section, where we hear how beautifully matched Kondonassis and Leisner are, the effect being that of one imaginary stringed instrument with infinite subtle tone colors rather than the two separate performers we are, in reality, hearing. The Canon, serving as the second movement, contains dance-like rhythms, which instead of being hammered out for us are carefully accentuated by Leisner’s rich timbral pallete. The varied third movement uses everything from chorale-like chords to an energetic central fugue. The fourth movement opens with a cadenza for the harp, allowed to breathe and given appropriate delicacy by Ms. Kondonassis, and ends with a dance for the guitar reminiscent of the melody used for the Canon two movements prior. The whole work is finally brought to a close with what is perhaps the most gentle music of the entire piece, evoking a sort of haze falling over a grove of trees, harmonies unfolding almost as a remembrance of the earlier movements. The recording is rounded out with beautifully recorded performances of Hovhaness’ Concerto for Harp and String Orchestra, Upon Enchanted Ground, Sonata for Harp, and The Garden of Adonis. After hearing these recordings, one can only hope that Leisner will continue to follow the path he is on, giving us both his creatively intelligent viewpoints of the classics and wonderfully presented first glimpses of important new repertoire." Guitarist's artistry deepens through perserverance Cleveland Plain Dealer, April 16, 2002 By Donald Rosenberg "Classical guitarist David Leisner got a new lease on performing life several years ago after an extended period away from the stage due to a hand injury. During his recital Sunday at the Cleveland Museum of Art's Gartner Auditorium, there were no technical hints that Leisner had ever suffered from a debilitating condition. The information was relevant only because the guitarist brought it up. But he needed to. Among the program's works was Leisner's "Nel Mezzo," a sonata he composed in 1998 as music therapy. Happily, the piece is powerful enough to stand apart from autobiographical concerns. The title translates "In the Middle," a reference, Leisner said, partly to his midlife crisis. In three movements, the score journeys through conflicted, nostalgic and defiant regions. The language is tonal, with vividly characterized themes and structural elements that result in a series of compelling statements. Leisner played the piece with the meticulous care he brought to every work on the program. Textures were clear and vibrato used subtly for expressive effect. In the piercing chordal passages and sung moments of "No!" - the sonata's final movement - Leisner revealed the health both of his artistry and his psyche. The program was split down the middle between original guitar works and transcriptions. In two Dowland pieces arranged by Karl Scheit, Leisner savored the elegant lines and dance rhythms. Bach's seminal Chaconne in D minor, written first for solo violin, benefited from the guitarist's stylish transcription, as well as his ability to simulate long lines over the vast architecture. Schubert's famous serenade, "Staendchen," was delicately shaped. Leisner's technique was put to the test in the two remaining works, and he triumphed in both. Richard Winslow's Variations on a Tune by Stephen Foster, written for the guitarist while he was a student at Wesleyan University, transforms the 19th-century composer's "Hard Times Come Again No More" into a fascinating web of variations ranging from the contemplative to the exuberant. Three etudes by Villa-Lobos, which Leisner restored from original manuscripts, sounded fiery and haunting. They can be heard on a CD of the complete Villa-Lobos etudes Leisner made for the Cleveland-based Azica label. Like Sunday's recital, they are victorious performances by a musician whose perseverance deepened his artistry." A Torrent of Notes and Emotions from David Leisner Corfu Progress, Greece, July 17, 1999 By Pavlos Apostolos "Here...where we thought that it wasn’t possible to have anything better (in the festival), here... where we thought that all the concerts we heard thus far approached perfection...here it was where we made the mistake! It was difficult to believe that just a guitar could fill the hall like this and capture the audience. This was the best recital of the year! The American David Leisner, after ten years of absence because of a hand injury, presented us last night with a REMARKABLE recital. His sound was perfect. With dynamics which were played with impeccable control, and with a technique that was the envy of every guitarist in the concert hall, Mr. Leisner literally immobilized us in our seats. He started with two lovely works by F. Poulenc and Lou Harrison and continued with the world premiere of his own work, Sonata di Mezzo. Such a well-written work! The composition’s craftsmanship was allied perfectly to Leisner’s virtuoso hands and created something truly important. It is a work which will surely find favor with guitarists and listeners alike. He finished the first half with a set of variations by R. Winslow. It was here that we discovered that Mr. Leisner also has a very sensitive and expressive voice. The second half of the recital was dedicated completely to the music of the Brazilian composer Heitor Villa-Lobos. We heard the Twelve Etudes for guitar from the composer’s manuscript in its European premiere. I have never heard anyone play these etudes better. It was truly a perfect presentation. David Leisner, who is visiting Greece for the first time, won us all over. Let us hope we will see him again soon." photo by Jeff Duckett |
| Performer press quotes and reviews |