Mieczysław WEINBERG (1919-1996)
Symphony no.19, op.142, The Bright May (1985) [34:04]
The Banners of Peace, op.143 (1985) [21:32]
St Petersburg State Symphony Orchestra/Vladimir Lande
rec. St Catherine Lutheran Church, St Petersburg, 28-30 April 2011. DDD
NAXOS 8.572752 [55:36]
The subtitle of this symphony Bright May would normally lead one to
think that, being written by a Soviet composer, it alluded to 1 May and the
workers’ holiday. In this case you would be wrong since it refers to
the month the ‘Great Patriotic War’, (the Second World War to
most of us) ended. In the first of three linked movements Weinberg describes
the devastation left by the war with an overwhelmingly sad introduction. This
finally gives way to a calm pastoral episode that continues until disturbed
by an insistent and ominous theme heavy with foreboding. This mood finally
returns to the pastoral calm. Merging almost seamlessly the second movement
opens with a gentle theme that once again is disturbed by a threatening passage
leading to a central climax during which percussion and brass dominate before
peace returns once more. This leads us into the symphony’s final movement
that, like the other two, is a sequence of calm interludes interrupted by
ominous passages. The symphony finally ends on a positive note.
It has often been the case that composers horrified either by the looming
threat of war or its unleashing, felt compelled to express this horror in
music. However, it is unusual for a composer to take a war as a theme for,
in Weinberg’s case, a set of three symphonies, so many years after its
end. I wondered if the passage of time leads to a better historical view of
it musically or whether memory is dulled over the decades. I can’t answer
that as I’m not yet acquainted with symphonies 17 and 18 but I can say
that this one certainly does express the joy that must have been felt when
that terrible war, whose cost was so appalling, was finally over. The continuing
disturbance of that joy expressed by the gentle pastoral sections, by the
dark clouds of martial sounding passages and thunderous brass and percussion
can surely mean only one thing; to emphasise that winning the peace would
be as challenging as winning the war. After all, Stalin was still ruling Russia
with all that implied.
Weinberg could never have been described as a ‘Party’ hack, though
like many other Soviet composers, including Shostakovich, he did write some
works that could be described as “socialist realist”. These were
linked to aspects of Soviet policy. An example is Weinberg’s 1985 Symphonic
Poem The Banners of Peace. This followed shortly after the 19th
Symphony and was dedicated to the 27th Congress of the Soviet Communist
Party. Apart from some references to revolutionary songs such as the Varshavianka
the music is not overtly propagandist nor is it bombastic in any way; rather
it could be construed as a critique. After all, the words of the Varshavianka,
which is quoted throughout, include “We will drown our enemies in their
own blood, Death to the ruthless, To all pests of the workers, Death to tsars
and plutocrats!”. In 1985, over 80 years after the song’s first
appearance, these words seem at odds with the concept of peace. I regard this
work more as another example of Weinberg’s ability to make powerful
statements and this in music that is expressive and exciting. Viewed as such
this work forms another worthy addition to the increasing amount of his music
available in recorded form. We should be grateful.
Both works are given committed performances full of colour from an orchestra
that will surely have this music in their blood. It is conducted with verve
and enthusiasm by Vladimir Lande.
Steve Arloff
Another worthy addition to the increasing amount of Weinberg’s recorded
music.
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