Acrobats
The first CD of the complete works for flute and guitar by David Leisner includes
world-premiere recordings of his Acrobats, Trittico, and Extremes, along with
Nostalgia, El Coco (The Bogeyman), and Dances in the Madhouse. The performers
are the spectacular Cavatina Duo (Denis Azabagic, guitar, and Eugenia Moliner,
flute), known for their "exceptional virtuosity and panache" (Fort Worth Star-
Telegram). Leisner calls them "a composer's dream". The compositions span a
period of 20 years, from 1982 to 2002.
Fanfare magazine review, July/August 2007
"David Leisner is a composer, guitarist, and co-chairman of the guitar department at
the Manhattan School of Music. His complete music for flute and guitar is here winningly
performed by the Cavatina Duo (Eugenia Moliner, flute, and Denis Azabagic, guitar),
which presents these fetching works with style, sympathy, and technical aplomb. This is
tonal music, rich in invention and melody, emotionally direct, and beautiful. I’m sure it’s
also a joy to play, with parts that creatively exploit each instrument’s potential. Not that
there’s any use of gimmickry or experimentation for its own sake. There’s nothing
startling or outrageous in the writing, just experienced, subtle, and wise craftsmanship
yielding musically satisfying results. Leisner has a well-developed programmatic sense,
unerringly employing the musical mot juste to draw his portraits.
Acrobats is a case in point: the up and down swing of the tune provides an apt analogy
for the vertiginous caprice of daring tricks on the flying trapeze. At least, that’s how I
first heard it. Actually, the composer was inspired by a short story (The Tumblers by
Nathan Englander) in which the characters’ mental life is subjected to violent surges of
thought and emotion, and it’s that interior vacillation that’s reflected in “In the Wings”
and “Flashback” (the first two movements of Acrobats). The Yiddish folk song, Oyf’n
Pripetshik, makes a poignant appearance—it’s a memento of the frightened Jews who
have mistakenly been bundled with a group of circus performers en route to entertain
the Nazis. Their fate is literally “Up in the Air” (the last movement).
El Coco is similarly effective at portraying the dread aroused in two children
apprehensively watching the approach of a bogeyman (the scary figure in Goya’s Que
viene el Coco): muted, single notes on the guitar, flutters from the flute, a slightly
ominous, pointillist style that later coalesces into longer, but still vaguely worried lines.
Nostalgia is a lovely piece, setting a sweet melody against intricate counterpoint. Two
memorable soliloquys, one for each instrument, take the stage before the duo reunites
for the recapitulation. Dances in the Madhouse is apparently Leisner’s most celebrated
work. It’s a collection of four genre pieces—tango, waltz, ballad, and samba—each
imaginatively written, emotionally powerful, and melodically affecting.
Two trios, Trittico and Extremes, round out the CD. Both reveal the same mind at work,
with Kleijn and Rubin adding instrumental color as they blend fluidly with the Cavatina.
Trittico’s three movements represent the three panels of a triptych, the outer two “light
and airy” (the composer’s words) and the central episode slower, but not always
serene. The middle movement includes two fine solos for cello and guitar. The
composer hears an Italian atmosphere hovering over the piece; the triple rhythms and
lively pace could suggest saltarellos or tarantellas. Extremes consists of two
movements with contrasting designations: “introverted” and “extroverted.” As might be
expected, the first is slow, chromatic, self-reflective. The second is energetic and “wide-
open, emotionally as well as harmonically.” While I don’t share the composer’s view that
“it has the energy and rhythmic intensity of rock music,” I did enjoy the swirling
interaction of flute and clarinet and the snapping bass notes from the guitar that bring
the piece to a rousing conclusion.
The CD comes with enlightening, but not overly analytical notes by the composer,
evocative cover photography, and thorough biographies of the performers. The
recording allows the instruments to speak naturally, with a balanced presence that
reinforces the collaborative essence of the recital. Leisner’s lyricism, gift for melody,
and compositional finesse make his music very appealing. In addition, it’s doubtful that
the Cavatina’s sophisticated and artistic playing could be surpassed. There’s more
potential in the union of flute and guitar than is commonly realized, and this CD
provides an incentive to investigate additional repertoire. Cavatina has inspired and
commissioned new music of this type and I, for one, look forward to hearing it as soon
as possible. Warmly recommended."
Robert Schulslaper
Pan, the flute magazine review, September 2007
"I must admit that I felt rather wary of having to review a recording devoted entirely to
the music of a contemporary composer of whom I knew nothing. American David
Leisner is both a composer and a guitarist. Acrobats, a recording of his music made by
the Cavatina Duo of Eugenia Moliner on flute and guitarist Denis Azabagic, turned out
to be a surprising and considerable pleasure. Leisner writes intelligent, varied and
often very beautiful music, basically tonal in style and often highly programmatic by
nature, with a hard edge fleetingly reminiscent of Piazzolla and a lyricism worthy of
Poulenc. It is music ideally suited to the considerable talents of the Cavatina Duo.
Eugenia Moliner is an excellent, exciting and imaginative flute player, totally in control of
the sometimes ferocious technical demands of the scores and Denis Azabagic plays
with both great virtuosity and considerable sensitivity. The Duo is joined by a cellist for
one of the compositions and a clarinetist for another. A truly enjoyable and thought-
provoking recital. Strongly recommended."
Michael Copley
Sequenza21.com, June 2007
"Flute and guitar. The pairing suggests fleetness of foot and lightness of touch, a kind of
instrumental Fred and Ginger. Acrobats, a collection of music for flute and guitar (with the
occasional addition of cello or clarinet) by David Leisner, fulfills this image/expectation in
clear and often intriguing ways.
Leisner’s music is direct and accessible without sacrificing expressivity. The composer has a
firm but flexible grasp on tonal harmony and rhythm, especially dance rhythms. The
instruments are shown off to great effect—the music really sounds.
Denis Azabagic (guitar) and Eugenia Moliner (flute), comprising the Cavatina Duo, are
excellent instrumentalists and sensitive musicians. Their playing is clean and expressive.
They are joined by Katinka Klein (cello) and Joshua Rubin (clarinet), both fine players in their
own right.
This is well-made music, lovingly played and recorded."
Website content © David Leisner 2008. All rights reserved.
The first CD of the complete works for flute and guitar by David Leisner includes
world-premiere recordings of his Acrobats, Trittico, and Extremes, along with
Nostalgia, El Coco (The Bogeyman), and Dances in the Madhouse. The performers
are the spectacular Cavatina Duo (Denis Azabagic, guitar, and Eugenia Moliner,
flute), known for their "exceptional virtuosity and panache" (Fort Worth Star-
Telegram). Leisner calls them "a composer's dream". The compositions span a
period of 20 years, from 1982 to 2002.
Fanfare magazine review, July/August 2007
"David Leisner is a composer, guitarist, and co-chairman of the guitar department at
the Manhattan School of Music. His complete music for flute and guitar is here winningly
performed by the Cavatina Duo (Eugenia Moliner, flute, and Denis Azabagic, guitar),
which presents these fetching works with style, sympathy, and technical aplomb. This is
tonal music, rich in invention and melody, emotionally direct, and beautiful. I’m sure it’s
also a joy to play, with parts that creatively exploit each instrument’s potential. Not that
there’s any use of gimmickry or experimentation for its own sake. There’s nothing
startling or outrageous in the writing, just experienced, subtle, and wise craftsmanship
yielding musically satisfying results. Leisner has a well-developed programmatic sense,
unerringly employing the musical mot juste to draw his portraits.
Acrobats is a case in point: the up and down swing of the tune provides an apt analogy
for the vertiginous caprice of daring tricks on the flying trapeze. At least, that’s how I
first heard it. Actually, the composer was inspired by a short story (The Tumblers by
Nathan Englander) in which the characters’ mental life is subjected to violent surges of
thought and emotion, and it’s that interior vacillation that’s reflected in “In the Wings”
and “Flashback” (the first two movements of Acrobats). The Yiddish folk song, Oyf’n
Pripetshik, makes a poignant appearance—it’s a memento of the frightened Jews who
have mistakenly been bundled with a group of circus performers en route to entertain
the Nazis. Their fate is literally “Up in the Air” (the last movement).
El Coco is similarly effective at portraying the dread aroused in two children
apprehensively watching the approach of a bogeyman (the scary figure in Goya’s Que
viene el Coco): muted, single notes on the guitar, flutters from the flute, a slightly
ominous, pointillist style that later coalesces into longer, but still vaguely worried lines.
Nostalgia is a lovely piece, setting a sweet melody against intricate counterpoint. Two
memorable soliloquys, one for each instrument, take the stage before the duo reunites
for the recapitulation. Dances in the Madhouse is apparently Leisner’s most celebrated
work. It’s a collection of four genre pieces—tango, waltz, ballad, and samba—each
imaginatively written, emotionally powerful, and melodically affecting.
Two trios, Trittico and Extremes, round out the CD. Both reveal the same mind at work,
with Kleijn and Rubin adding instrumental color as they blend fluidly with the Cavatina.
Trittico’s three movements represent the three panels of a triptych, the outer two “light
and airy” (the composer’s words) and the central episode slower, but not always
serene. The middle movement includes two fine solos for cello and guitar. The
composer hears an Italian atmosphere hovering over the piece; the triple rhythms and
lively pace could suggest saltarellos or tarantellas. Extremes consists of two
movements with contrasting designations: “introverted” and “extroverted.” As might be
expected, the first is slow, chromatic, self-reflective. The second is energetic and “wide-
open, emotionally as well as harmonically.” While I don’t share the composer’s view that
“it has the energy and rhythmic intensity of rock music,” I did enjoy the swirling
interaction of flute and clarinet and the snapping bass notes from the guitar that bring
the piece to a rousing conclusion.
The CD comes with enlightening, but not overly analytical notes by the composer,
evocative cover photography, and thorough biographies of the performers. The
recording allows the instruments to speak naturally, with a balanced presence that
reinforces the collaborative essence of the recital. Leisner’s lyricism, gift for melody,
and compositional finesse make his music very appealing. In addition, it’s doubtful that
the Cavatina’s sophisticated and artistic playing could be surpassed. There’s more
potential in the union of flute and guitar than is commonly realized, and this CD
provides an incentive to investigate additional repertoire. Cavatina has inspired and
commissioned new music of this type and I, for one, look forward to hearing it as soon
as possible. Warmly recommended."
Robert Schulslaper
Pan, the flute magazine review, September 2007
"I must admit that I felt rather wary of having to review a recording devoted entirely to
the music of a contemporary composer of whom I knew nothing. American David
Leisner is both a composer and a guitarist. Acrobats, a recording of his music made by
the Cavatina Duo of Eugenia Moliner on flute and guitarist Denis Azabagic, turned out
to be a surprising and considerable pleasure. Leisner writes intelligent, varied and
often very beautiful music, basically tonal in style and often highly programmatic by
nature, with a hard edge fleetingly reminiscent of Piazzolla and a lyricism worthy of
Poulenc. It is music ideally suited to the considerable talents of the Cavatina Duo.
Eugenia Moliner is an excellent, exciting and imaginative flute player, totally in control of
the sometimes ferocious technical demands of the scores and Denis Azabagic plays
with both great virtuosity and considerable sensitivity. The Duo is joined by a cellist for
one of the compositions and a clarinetist for another. A truly enjoyable and thought-
provoking recital. Strongly recommended."
Michael Copley
Sequenza21.com, June 2007
"Flute and guitar. The pairing suggests fleetness of foot and lightness of touch, a kind of
instrumental Fred and Ginger. Acrobats, a collection of music for flute and guitar (with the
occasional addition of cello or clarinet) by David Leisner, fulfills this image/expectation in
clear and often intriguing ways.
Leisner’s music is direct and accessible without sacrificing expressivity. The composer has a
firm but flexible grasp on tonal harmony and rhythm, especially dance rhythms. The
instruments are shown off to great effect—the music really sounds.
Denis Azabagic (guitar) and Eugenia Moliner (flute), comprising the Cavatina Duo, are
excellent instrumentalists and sensitive musicians. Their playing is clean and expressive.
They are joined by Katinka Klein (cello) and Joshua Rubin (clarinet), both fine players in their
own right.
This is well-made music, lovingly played and recorded."
Website content © David Leisner 2008. All rights reserved.
| CD Program Acrobats El Coco Nostalgia Dances in the Madhouse Trittico Extremes |
