Leila Josefowicz, the American-Canadian violinist known for her pioneering role in contemporary music, has long been ahead of her time, and it seems the world is finally catching up. Acclaimed internationally for her performances of modern compositions, Josefowicz has collaborated with some of today’s most renowned composers, including Esa-Pekka Salonen, Steven Mackey, Thomas Adès, and John Adams—whose works she has consistently championed.
Ahead of a mid-October European tour, Josefowicz, 47, spoke with us from her home in Westchester County, N.Y. She discussed her unique career path, her family, changes within the classical music landscape, and her upcoming performances next weekend with the San Diego Symphony at the newly renovated Jacobs Music Center.
Trained at the Colburn School in Los Angeles and the Curtis Institute of Music in Philadelphia, Josefowicz began her career performing traditional violin repertoire. However, even as a student, she was naturally drawn to contemporary music.
“I was gravitating towards the newer and unexpected,” she said. “I was looking for repertoire that freed me, allowing me to be more spontaneous and express myself in a different way. That became incredibly attractive to me.”
Josefowicz considers herself fortunate that by the time she began working closely with composers, she had already spent a decade performing the standard classical repertoire.
“It wasn’t like, ‘Who is this violinist wanting to premiere new works?’” she explained. “It was more like, ‘OK, it’s Leila. We know who she is—interesting choices she’s making these days!’”
Next weekend, Josefowicz will be the featured soloist at Jacobs Masterworks concerts, performing Thomas Adès’ Concentric Paths with the San Diego Symphony. The program will also include John Adams’ The Chairman Dances (Foxtrot for Orchestra) and Dvořák’s Symphony No. 9 in E minor, “From the New World”, showcasing a mix of works from 2005, 1985, and 1893, respectively.
Now regarded as one of the leading champions of new music, Josefowicz is heartened to see many prestigious orchestras blending classical and contemporary works more frequently.
“I think it’s wonderful that premieres are happening all the time now,” she shared. “If not on every program, then at least on many. That wasn’t always the case before.”
She added, “Audiences are becoming more accustomed to sitting through music that’s unfamiliar to them. Many are listening with an adventurous spirit, and that kind of engagement is vital for the art form’s future.”
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