Mieczysław WEINBERG (1919-1996)
Symphony No.1, Op. 10 (1942) [39.22]
Symphony No. 7, Op. 81 (1964) [29.33]
Gothenburg Symphony Orchestra (The National Orchestra of Sweden)/Thord Svedlund
rec. 20-21 August 2008, Concert Hall, Gothenburg, Sweden
CHANDOS CHSA 5078 [68.55]
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
For the little Weinberg which is presently available one has largely to thank
Chandos and hope that they persist.