Review: Weinberg's Evanescent 3rd and 7th Symphonies

[@rickcavalla7341]

I never understood the dismissal of Weinberg because he sounds like Shostakovich. There are plenty of instances in music where a group of composers have a superficially similar style. How different are Corelli and Vivaldi based on just sound world? Haydn and Mozart? Schumann and Brahms? Schoenberg and Berg? All I can think is that Shostakovich is considered "exotic". And we are more willing to dig beneath the surface of composers in more popular and mainstream Italian and German repertoire. Once you get to the geographic and stylistic "outer boroughs", there is an attitude that we have a designated Composer X to represent that school and that is enough.

[@bigg2988]

I personally find such "unsettled" music stimulating, and progressive in the true meaning of the word. Not for every moment, sure. Sometimes we all require our peace and confidence in the style/mood we wish to take in. I only yet have the double album containing Weinberg's 2 and 21 symphonies by the same Birmingham forces with Gražinytė-Tyla. She is a conductor of the younger generation that "DG" seem to have decided to promote precisely for the less explored repertoire as this (although she also recorded a fine disc of English classics). I am happy with the name being outlined since the performances are of a high level. Of course, the composer's name should always appear in full, and in at least the same prominence to the artist's - but it's a dig at the "DG" marketing people, not the conductor, who quite deserves the recognition. Last but not least, hopefully the debate has settled on the spelling of "Weinberg". This is the (quite easy) Latin-European version, which should not be "cyrillicized"

[@johnwright7557]

Thanks much for reviewing this! It was one of my Christmas presents and I’ve listened to it once all the way through and the Flute Concerto twice. It is moving music, though I agree rather puzzling emotionally. I bought Grazyinte-Tyla’s 2-CD set of Weinberg’s Symphonies 2 and 21 (Gidon Kremer actually conducts his orchestra in 2). I was blown away by Symphony 21 with its quotes of Chopin’s First Ballade and the conductor’s vocalise in the last movement. I’ll be listening to this new disc several times before I make up my mind about Weinberg’s style.

[@petterw5318]

I love Weinberg, and I'm glad his music is back. His cello concerto, full of Jewish melodies is terrific, and my favorite symphony is his Mahlerian 6th (it has a boy's choir).

[@iainmacdonald8379]

Dave, did you listen to her recording of the 2nd and 21st, also with Birmingham on DG? That disc was my first taste of Weinberg, and I thought it was beautiful stuff. I'd love to hear your take on those works, particularly the 21st, which I think is a very moving and interesting piece.

[@irekmichal2005]

I wonder if Weinberg heard Dutilleuxs second before writing his 7th?

[@crispinward8424]

I performed this 10 years ago in Sala cu Orga in Moldova. His family were connected with Chisinau and it was amazing to bring his music home.

[@alanmcginn4796]

Oh gosh. Another composer I know very little about. This man was a prolific composer! Dave. Where would you recommend we start sampling his works??

[@DavesClassicalGuide]

Start with this release, I'd say.

[@nigelharris7367]

I'd also recommend his Cello Concerto, the Fantasia for Cello and Orchestra and the Chamber Symphony No1.

[@oistrakowitsch]

My first experience with Weinberg was through the trumpet concerto with Selina Ott (I saw it live, but I believe there is a CD on Orfeo). It's a weird, quirky but fun piece and it's short, which makes it great for starting out in my opinion.

[@oistrakowitsch]

Great to hear about Weinberg, such a great but overlooked composer. There is a recording of an arrangement of Shostakoviches 10th for two pianos with Weinberg and the man himself, interesting stuff! But speaking about female conductor "Turr", have you seen the movie? I liked it, there sure are enough conductors crazy enough for such a breakdown. DG even released a CD along the movie, you could perhaps make a review of Cate Blanchett's (or Turr's) piano playing and squeeze in a short review of the movie, could be fun!

[@DavesClassicalGuide]

It's really not my cup of tea. I really don't care about performers, apart from the sounds they make.

[@elagabalus-imperator]

I'm surprised Karajan didn't record much (if any) Weinberg (given that HVK loved his string sections). I just sampled his cello concerto - which I liked. Can't wait to listen to more and then rewatch this review. Thanks.

[@PaulBrower-py7tv]

Weinberg, Vajnberg, whatever... this looks like a possible buy. I'm always in the mood to hear something outside of the zone of familiarity.

[@stefanoruggeri100]

Thanks David for this video, Weinberg is a great composer that is little known.

[@marciosr8504]

I loved her first (double) album on the Weinberg symphonies, and I'm playing this last CD very often too 👍 Both came as a huge surprise, I did not have any experience with his music before.

[@petterw5318]

The first movement of his Kaddish symphony, with that solitary piano trying to play Chopin, is haunting.

[@SoundsFromSound]

The Flute Concerto on this recording is outstanding, my new favorite... 🤙

[@Ingrampix]

FWIW I'd start with the G minor Violin Concerto, the Kogan recording. Martin at Toccata Classics has done most for Weinberg in the west down the years IMO: many releases and a catalyst for others, like this one - even spreading Weinberg's own preferred spelling properly into PD, via Per Skans who knew the composer well and was working on a biog. before untimely death. .

[@joseperla9806]

Oh yes, the Kogan recording! In its latest incarnation on Alto, it conveniently shares disc space with Weinberg playing the piano in his Piano Quintet (with the Borodins) and the thrilling Moldavian Rhapsody (with Oistrakh). All three works, and these recordings of them, are superb. If you must have modern stereo there are worthy alternatives out there, but the 1954/61/63 sound on this is more than acceptable, and to have the composer himself performing makes this CD indispensable (a word I use rarely).

[@bart1366]

David, thank you for that! I love Weinberg and this new disc.

[@sprachnroll]

I discovered Weinberg through the series on Chandos and was hoping for a comparison of that series to this recording.

[@joseperla9806]

My opinion: this 3rd is even better.

[@Vandalarius]

Wow, by absolute coincidence, I've been starting my Weinberg listening cycle recently. I'm up to symphony 12 now. Really interesting stuff - he reminds of Myakovsky in many ways.

[@Vandalarius]

@@bernabefernandeztouceda7315 I like it! I probably need to listen to it again to get further impressions.

[@cliffordbaker4930]

Based on your review, I bought this and listened to it this afternoon. Your description is spot-on: beautiful but emotionally ambiguous. I enjoyed it very much, as I like works that leave you thoughtful at the end. I look forward to getting to know these better and will also try the Cello Concerto. Thanks for introducing me to another composer I didn’t know about.

[@sweatychaw3105]

Wow I the algorithm is playing 4d chess with this recommendation

[@johnmarchington3146]

I bought the earlier release of the 2nd and 21st symphonies on CD and then bought the 3rd, 7th and Flute Concerto as a hi-rez download and love both recordings. There's also a fine chamber music disc on DGG featuring Gidon Kremer, which I also have.

[@laszlostankovics7926]

I listened to Weinberg for the first time, her seventh is amazingly good music!

[@samroberts3115]

Thank you, Dave! Weinberg is one of the many composers that I have discovered through your website and channel. I doubt I would have come across much of the music I now cherish were it not for your recommendations.

[@kylejohnson8877]

Weinberg is certainly an interesting figure who seems to be the “unsung composer du jour” these days. His music is being amazingly well-covered by recordings (often featuring well-known artists!) and is even starting to appear on concert programs as well. Personally, I find him to be a bit of an uneven composer, but at his best he’s really compelling. My absolute favorite work of his is the poignantly beautiful Cello Concerto, which is IMO one of the greatest concerti written for the instrument. The wistful 2nd movement bears a strong resemblance to the music John Williams would later write for Schindler’s List! I also think very highly of his 3rd, 5th, and 14th Symphonies, as well as his Piano Quintet. I think Weinberg is most successful when he doesn’t try to sound like his buddy DSCH. Some of his works (especially the later ones) can sound like grey, depressing second takes of Shostakovich. But when Weinberg lets his own personal, haunting lyricism shine through, the result is magical!

[@DavesClassicalGuide]

I think that's a very fair and accurate appraisal.

[@frederickhill7181]

Weinberg's life span is approximately that of the USSR itself. A number of factors worked against his being better known. Unlike his mentor DS, he didn't travel or teach. Following the "thaw" in Soviet life which came with the death of Stalin and the Kruschchev yours, he enjoyed a period of ascendancy, his "starry years" in which he was hailed by the likes of Oistrakh, Rostropovich, Dokshizer (for whom he wrote his Trumpet Concerto) and Kondrashin. He sustained himself by composing for the theatre, circus and cinema, including the Russian version of "Winnie-thye- Pooh." Later, like DS, he suffered the shift in musical fashions which brought to the fore younger and more radical composers such as Shnittke and Gubaiudulina. He continued to compose up the end of his life. His later symphonies, particularly No.21 "Kaddish" are masterworks in the style of Mahler.