Jaap quits Dallas on a world premiere

For his final concerts as music director of the Dallas Symphony Orchestra on May 24-26, Jaap van Zweden has programmed the world premiere of a violin concerto by the American composer Jonathan Leshnoff.

The soloist will be the DSO concertmaster Alexander Kerr.

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  • Petros Linardos says:

    The headline made me think he had cancelled. How can “quit” have anything to do with showing up for a final performance?

    • msc says:

      That is, leaves Dallas; it strikes me as a perfectly normal use “to quit” (“depart from, leave” according to the old concise Oxford I keep by this particular desk).

      • Ruben Greenberg says:

        True! But time to get a newer dictionary. Language evolves and it is pointless to go against this trend.

        • Sarah Dinin says:

          As Mr. Leshnoff’s manager, I have to agree with Petros here…this headline almost gave me a heart attack!

  • John Borstlap says:

    Leshnoff is a gifted composer, one of those artists who, like increasingly in the visual arts, leaves the nonsense of conventional ‘modernity’ in the arts as formulated by the pretentious untalented of the last century, behind, and forges his personal interpretation of available means, thereby giving them a new life:

    http://www.youtube.com/watch?v=–qgwByJK3A

    http://www.youtube.com/watch?v=7aMbC7MTz0Y

    “Jonathan Leshnoff (b. 1973) is quickly winning a reputation as one of America’s most gifted young composers, with a music which is rooted in two different traditions: the lyrical side of the romantic tradition, and otherwise the 20C neoclassical tradition, enriched with typical late-20C rhythmic touches. He is not ashamed of writing in structures that are accessible and clear, and of pathos – without falling into the trap of Hollywood kitsch. Jewish culture is an important source of inspiration, as is demonstrated by his oratorio Zohar. The musical language is often very chromatic, but his neo-classicist side (which is quite different from Stravinsky’s, as can be heard in the delightful Concerto Grosso in Baroque Style) offers a springy, fresh contrast. One can hear the influences of Bartok and the octotonic ‘pain’ of much music of the European twenties (Hindemith, Toch).”

    Source: “The Classical Revolution”, 2nd edition, Dover Publications Inc., Minneola, New York, 2017; page 132. Author: Yours sincerely.

  • Hanna Nahan says:

    Not performing one of yours this season, is he, Johnny?

  • Walt says:

    We had Kerr here a few weeks ago, great player!

  • Anatolii says:

    Prima werk Bart, in Chaam hebben we hetzelfde probleem en als hardloper/wielrenner geven de aggressieve honden een enorme overlast.Zelf 5 weken geleden op de fiets te grazen genomen door 2 goden met halsband.been fors open,forse scheur in lip.arm flinke jaap enz.wel nog nwt forse klap kunnen geven aan hond waardoor deze een aantal tanden was kwijtgeraakt.enfin paar dagen later naar eigenaar,geen verontschuldiging maar, tja begrijp het niet tis zo,n lieve hond helaas nu zonder tandenThis is Thailand hoor

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