Weinberg’s Symphony No. 13, dedicated to the memory of his mother, is cast in a single movement that unfolds in a symmetrical arc. A large orchestra is used sparingly in chamber-like textures with motivic ideas that evolve over the course of the work. The result is music of gripping and unsettling power, both emotionally intense and architecturally complex. Some years earlier Weinberg wrote the light-hearted Serenade, Op. 47, No. 4 which offers a study in contrasts: by turn capricious, rumbustious and wistful. The Siberian State Symphony Orchestra has a reputation as one of the best orchestras in the former Soviet Union. In 2015 Vladimir Lande became the orchestra’s new Artistic Director and Chief Conductor. Since then, the orchestra has embarked on a recording programme with international labels, and televised concerts have become available for online streaming.

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REVIEW:

The dominant mood of the Symphony No. 13 is elegiac, and though the middle section displays aggression and sustained tension, the framing outer sections depend on long, brooding melodies and subdued dissonant counterpoint to communicate a haunted mood in the vein of Shostakovich’s late music. In contrast, the Serenade is almost shockingly cheerful, bursting with hummable melodies and rustic dances that at times evoke a sardonic mood. This album is an excellent introduction to Weinberg’s music.

– All Music Guide (Blair Sanderson)

Mieczys?aw Weinberg – whose music was virtually unknown in the West until quite recently – composed, despite the incredible difficulty of the circumstances of his life, an enormous amount of music, including seventeen string quartets and no less than twenty-six symphonies, which puts him, in sheer prolificity among twentieth century symphonists close to Myaskovsky (27), but lagging somewhat behind Havergal Brian (32). Outstanding among Weinberg’s symphonies is the trilogy made up of the seventeenth, eighteenth and nineteenth symphonies, collectively entitled On the Threshold of War. This refers to what is known in Russia as The Great Patriotic War, or, in other words, World War Two.

So here we have no.17, ‘Memory’; it is a four-movement work with what might be thought a relatively conventional profile. But the way Weinberg handles the symphonic form and his material is, in all aspects, highly personal, and it is an unquestionably powerful statement. The movements are: an opening slow movement - Adagio sostenuto - of great intensity; then a fast, furious and lengthy Allegro molto; a much shorter Allegro molto, pesante; and another long movement, marked Andante, to complete the work.

There is, as far as I can ascertain, only one other recording of this symphony, that of a 2013 concert performance by the Vienna Symphony Orchestra under Vladimir Fedoseyev. Though that is a committed performance, the sound is rather ‘raw’, and orchestral ensemble is often rough round the edges. The Siberian State Symphony Orchestra, on the Naxos recording, plays well, even if the strings do lack the bloom of a really top-class outfit. The recording is extremely well-balanced, so that wonderful moments, such as the entry of the harpsichord in the second movement, make the maximum impact. In fact, I found this the finest movement of the four; Weinberg constructs the movement so consistently from the various melodic motifs, and the scoring, particularly its use of the two keyboard instruments – piano and harpsichord – is outstandingly atmospheric. The way it eventually resolves into a searing elegy for the high strings is compelling, as is the sense of disintegration at its close.

This is certainly an impressive work, which deserves a distinguished place among the great World War Two symphonies – Vaughan Williams 6, Prokofiev 6, Shostakovich 7 and 8, Copland 3 and Honegger’s Symphonie Liturgique, to name a few of the best known. Inevitably not the most cheerful piece, and some will find it grim. I would prefer the word ‘bracing’, for Weinberg maintains the concentration and the symphonic argument strongly throughout the work’s forty-five minute duration.

But it is demanding, which is why it was such a good idea to begin the CD with something as hugely entertaining as the little Suite for Orchestra of 1950. This is pure delight, and I’d be very surprised if this piece was not now taken up by other orchestras (this is the first recording). The opening Romance has a gorgeously lachrymose theme, first heard in the trumpet, while the Humoresque has deliciously light scoring. The spirit of Shostakovich hovers very close; Weinberg’s third movement recreates perfectly the mood of those haunted and very Russian waltzes found in both of the older composer’s Jazz Suites.

An impressive and enjoyable disc then. And one other thing; we don’t often credit the writers of booklet notes, so I wanted to mention the exemplary notes provided for this issue by Richard Whitehouse. Genuinely helpful and informative, unlike some writers who sometimes appear simply to want to blind us with their musicological ‘insights’. After all, how many of us want - or need – to know what key the music modulates to in bar 63 etcetera, etcetera?

– MusicWeb International (Gwyn Parry-Jones)

Arthur Gottschalk is recipient of a number of accolades, including the Charles Ives Prize of the American Academy of Arts and Letters, Special Distinction by the ASCAP Rudolph Nissim Award in 2009 for Requiem: For the Living, Gold and Silver Medals from the Global Music Awards, The American Prize in Composition in 2013 and 2014, annual awards from the American Society of Composers, Authors, and Publishers since 1980, and Arthur Gottschalk Day (October 16) from the City of Houston TX. Mr. Gottschalk has worked in diverse areas of music, including composing and arranging music for feature films, television scores, numerous industrial films and commercials, music publishing, and artist management. He continues to work as an expert in music copyright cases and as a forensic musicologist. Featured soloists on Requiem for the Living include tenor Alberto Mizrahi and Grammy-nominated soprano Lauren Snouffer. Vladimir Lande conducts the St. Petersburg State Symphony Orchestra and the St. Petersburg Chamber Choir.

Mieczyslaw Weinberg’s Eighteenth Symphony is the centerpiece of his symphonic trilogy On the Threshold of War, focusing on the traumas of the Soviet Union in World War II and stands as one of the most significant creations of his later years. Using texts by important Soviet poets, the work reflects on war with eloquent expressive power. The Trumpet Concerto is amongst Weinberg’s most substantial and diverse works from the 1960s. Ranging in effects from pointillist modernism to the grotesque and sardonic, Shostakovich described it as a “symphony for trumpet and orchestra.”

"[The 18th Symphony] is a complex work in every way worthy of the later Weinberg and his blossoming during the thaw. These are excellently solid performances of works well worth having. Lande and the amassed choral and instrumental forces give us a performance worthy of the brilliance of the music. Very recommended. Weinberg!" -- Gapplegate Classical-Modern Music Review [6/2014]

“The present performance boasts a compelling contribution from Andrew Balio, who revels in the witticism of the Finale while also encapsulating the darker undertones of the wistful central movement. The St Petersburg State Symphony offers strong support.” -- BBC Music Magazine [7/2014]

• Against the backdrop of St Petersburg’s beautiful Court Capella, Eldar Nebolsin performs the piano concertos of Tchaikovsky and Rachmaninov with a passion and sincerity as palpable onscreen as live in the hall. With such evident pleasure and seemingly with ease, he transformsthe familiar into something fresh and wonderful. He is seen live with Vladimir Lande and theSt Petersburg State Symphony Orchestra. Bonus material shows Nebolsin as soloist in anintimate and equally engaging performance of Beethoven’s Fourth Piano Sonata.In 2005, Eldar Nebolsin was unanimously awarded the Sviatoslav Richter Prize in the FirstInternational Piano Competition in Moscow, where he was also honoured with the specialaward for The Best Classical Concerto Performance. He enjoys a busy international careeras a soloist, recitalist and chamber-music player, appearing with conductors, orchestras andcolleagues of international distinction.

This is the accomplished and stylish Russian debut of Tianwa Yang – one of the most unusual and energetic violinists of our time. To an enthusiastic audience within the walls of the beautiful Court Capella in St Petersburg, she performs the much-loved concertos of Tchaikovsky and Brahms with the St Petersburg State Symphony Orchestra under the sensitive direction of Vladimir Lande. The remarkable intensity of her playing is just as apparent in both her encore– Ysaÿe’s Violin Sonata No. 3 – and her separate performance of Bach’s solo Partita No. 2. Tianwa Yang has quickly established herself as a leading international performer and recording artist. She has recorded critically acclaimed interpretations of the complete music for violin andpiano, and for violin and orchestra, by Sarasate. Her recording of Mendelssohn’s two violin concertos (8572662) has won the highest praise.

Dmitry Kouzov is one of his generation's leading cello virtuosos. From his earliest years Kouzov was surrounded by musicians with direct personal connections to Shostakovich, making the master's music an inseparable part of his musical being. That immersion, along with the partnership with the St. Petersburg State Symphony and Lande, make for an insightful and moving reading.

... flawless, exciting... we have music that unfolds comfortably, but there's enough to arouse curiosity without scaring anyone off. It will not alienate stodgy blue-hair types, but it will still satisfy those who crave creative new music. Thus has American Record Guide responded to the music of New York-based composer Sean Hickey, who reappears with new, engaging, and beautifully crafted concertos in his premiere Delos recording. Renowned cellist Dmitry Kouzov and vaunted clarinet virtuoso Alexander Fiterstein shine with St. Petersburg orchestras under Maestro Vladimir Lande.

WEINBERG Rhapsody on Moldavian Themes. Symphony No. 6 • Vladimir Lande, cond; Glinka Choral College Boys’ Ch; St. Petersburg St SO • NAXOS 8572779 (61:02)


Mieczysaw Weinberg’s sad and tortured life is described in the liner notes. The fate of his impressive and unjustly neglected music is explained by the fact that he was kept under wraps by his Soviet masters while others were given all the international glory. Naxos’s series of Weinberg releases, which so far includes three CDs of his cello music, is augmented here with this release of his wonderful Rhapsody on Moldavian Themes and innovative Symphony No. 6.


The Rhapsody begins softly, mysteriously, but builds into an impressive musical structure in which the music almost morphs from one section to another rather than sounding forcibly juxtaposed. These Moldavian themes have a certain Sephardic quality about them, a soulful minor-key tendency that influences one’s emotional reaction to the music even in the most energetic passages. Wisely, too, Weinberg does not over-write, so the piece doesn’t overstay its welcome.


The Sixth Symphony, composed in 1963, is a more mature and reflective work. Divided into five movements, it begins quietly, but this initial Adagio sostenuto does not stay quiet for long; rather, it breaks out into louder, yet no less somber, moods in which the brass and winds combine with the strings in a mode that tends toward the minor. Basses (and possibly cellos) sustain quiet chords while a solo flute plays with great anxiety above them; the solo role then passes on to horn and clarinet. A group of winds, including clarinets, plays a mysterious and restless melody above growling basses; another, quieter eruption with horns ensues; then it ebbs into a soft, unresolved dissonance for the finale.


The second movement includes the chorus of boys’ voices, singing a Lev Kvitko poem about a boy who makes a violin from scraps which he then plays to an audience of animals and birds. (Unfortunately, no texts are included, nor does Naxos direct you to a translation on its website.) The music is bitonal and polyrhythmic, in fact producing at times an almost purposefully uneven, galumphing gait. The music for the boys’ chorus is almost a chant, covering perhaps six tones that are played against the ever-changing harmonies of the orchestral background. A solo violin, emulating the boy’s homemade violin, plays plaintively, then the chorus returns while low wind, string, and brass chords play below them.


The third movement, marked Allegro molto, sounds almost hectic in its fast-forward motion, brass and percussion dominating the soundscape in a more mature and advanced sort of Khachaturian style. An almost klezmer-style clarinet solo interacts with glockenspiel and woodblocks, slurred trombones, and tubas. The fourth is described as a subtle reworking of one of Weinberg’s Jewish Songs from 1944, a rather ominous poem by Samuil Galkin in which the place where a home once stood is now a graveyard for murdered children, which will serve in the future as a memorial. The movement begins in a loud and ominous mood, with crashing timpani, but the chorus enters here in a softer, more conciliatory mood. Its song is a little more involved melodically here, written in C Minor and with the boys often singing in their lower range. Even the clarinet is pitched low, and the basses continue to pursue an ominous mood with occasional outbursts by the horns and low trumpets over percussion. Eventually, what sounds like very low, soft trombones underscore the boys’ song, occasionally colored by glockenspiel and oboe. Oddly, Weinberg ends the symphony with yet another slow movement, marked Andantino. It is based on a poem by Mikhail Lukonin in which “children of the present and future, from the Mississippi to the Mekong, are bid sleep in the confidence of a bright and productive tomorrow.” Appropriately, the music itself is like a lullaby, with wistful choral passages sparsely accompanied, first by the winds and then by lower strings. Certain elements heard earlier make tentative reappearances here, then the choir stops singing in order to give way to a solo violin playing a plaintive melody. The ending is a quiet, unresolved dissonance.


This is remarkable music, excellently played and sung by the various forces involved. As usual, Naxos’s over-reverberant sound blurs the clarity of certain instruments, but in the more atmospheric movement of the symphony this works to its advantage. There’s another recording of the Rhapsody available, conducted by Gabriel Chmura with the Polish National Philharmonic on Chandos 10237, which received a good review in these pages from Barry Brenesal, and both the excellent Kiril Kondrashin and Vladimir Fedoseyev have recorded versions of the Sixth Symphony that I haven’t heard, but taken on its own merits, Vladimir Lande’s performance is very fine.


FANFARE: Lynn René Bayley