When the Germans attacked his home country in 1939, the Polish
composer Mieczysław Weinberg escaped to Russia. Then Russia
became involved in the war, so he again fled from Minsk to Tashkent
in Uzbekistan.
When Weinberg sent the manuscript of his First Symphony to Shostakovich,
the older composer was so impressed that he helped to arrange
for a permit allowing Weinberg to settle in Moscow. The two
men became close friends, regularly showing their new works
to each other, Shostakovich acting as a kind of mentor to Weinberg.
However, it would be wrong to simply assume that Weinberg's
music is heavily indebted to Shostakovich's. In fact, there
was considerable cross-influence between the two. Weinberg had
been particularly stunned by Shostakovich's Fifth Symphony,
but his own music only shows a degree of influence while asserting
its own attractive individuality. Nevertheless, as David Fanning
writes in his concise and informative notes: “the general
notion of a new lyrical neoclassicism, capable of speaking to
the human condition in the mid-twentieth century, was evidently
an inspiring one.” To make merely the most general comparison
between the two composers, I would say that Weinberg's is brighter,
rather more optimistic and genial, less heavily tinged with
bitterness or sarcasm and avoiding Shostakovich's occasional
bombast. He certainly has a voice of his own, as well as a refreshing
ability to combine simplicity and originality. Weinberg's lively
imagination guarantees an element of surprise, also combining
with his strong sense of overall direction consistently holding
the attention.
The Symphony No.1 (dedicated to the Red Army) which so impressed
Shostakovich is in four movements, the first being the longest
and most weighty. The very opening illustrates Weinberg's gift
for diatonic melody, while the second subject is in a contrasting
Larghetto tempo. A muscular development section affords
Weinberg the space to exercise his contrapuntal skill.
The Lento is deeply lyrical, with Weinberg's memorable
melodic invention again evident. Occasionally this music suggests
Mahler without the angst. In the scherzo, which has a rather
delayed trio section, Weinberg's inspiration seems at a lower
level but never less than engaging. Beginning with a vigorous
unison passage, the finale has plenty of energy, drive, counterpoint
and humour. Again one can easily hear what impressed Shostakovich,
not least some piquant touches of orchestration. This is altogether
a very attractive symphony of remarkable directness.
The Seventh Symphony of 1964 (dedicated to Rudolf Barshai) is
one of several string symphonies Weinberg composed, though here
a harpsichord is added. There are five movements playing without
a break. How many symphonies open with unaccompanied harpsichord?
This one does, but in fact the instrument plays a generally
discreet rather than ostentatious role throughout the work.
It is employed sparingly - indeed not at all during the third
and fourth movements - often reflecting, or supporting in concerto
grosso style.
Although 24 years separate the Seventh Symphony from the First,
Weinberg's lyrical neo-classicism is still obvious. The five
movements play without a break, the first being an initially
serene Adagio sostenuto which increases in intensity,
returns to the harpsichord solo, then leads to an Allegro
- Adagio sostenuto. Derived frommaterial in the opening
movement, the begins with a theme of initially narrow compasswhich
soon opens out. This develops into a movement which ranges widely
in mood - from skittish to more earnest and purposeful. The
Gothenburg players deliver this with considerable impact. The
ending is calm, returning to the symphony's opening harpsichord
solo.
A relaxed Andante follows, its lack of urgency providing
a foil for the short but intense fourth movement, another Adagio
sostenuto. The final movement begins wittily with quick
repeated notes on the harpsichord before Weinberg further exercises
the high-spirited, “unbuttoned”, humorous and unpredictable
aspects of his musical character. The calm ending - another
Adagio sostenuto - incorporates a final recall of the
harpsichord solo which began the symphony.
The Gothenburg Symphony Orchestra plays with conviction and
fine ensemble. Admittedly, the occasional astronomically high
violin writing does cause a little insecurity, but many orchestras
outside the world's top dozen would be no less taxed. Dedicatee
Barshai's own 1967 recording of the 7th Symphony
(in inferior sound) is irreplaceable, but Svedlund has made
previous Weinberg recordings and demonstrates considerable authority.
This excellently recorded disc presents a good introduction
for those unfamiliar with any of Weinberg's large output. I
urge them to sample this music, which I found both immediately
arresting and increasingly rewarding on repetition.
Philip Borg-Wheeler
see also review by Rob
Barnett
Gothenburg Symphony Orchestra (The National Orchestra of Sweden)/Thord
Svedlund 
[68.55] 
