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Mieczyslaw Weinberg - Symphony No 5; Sinfonietta No 1 (Polish RSO; Chmura)

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Music : Classical : Lossless
     


Mieczyslaw WEINBERG (1919-1996)

Symphony No. 5 Op. 76 (1962)  
Sinfonietta No. 1 Op. 41
(1948)
 
National Polish Radio Symphony Orchestra, Katowice/Gabriel Chmura 
rec. Grzegorz Fitelberg
Concert Hall, Katowice, Poland, 3-7 March 2003. DDD 


Mieczslaw Weinberg (more frequently seen in the
Russian variant as Moise Vainberg - or ‘Vaynberg’ if you look at the 1980 New Grove) was born in Warsaw,
the son of a violinist and composer working in the Polish theatre. In 1941, a fateful year, he moved to the USSR, at
first to Minsk, then to Tashkent. His First Symphony resulted in an invitation to Moscow by Shostakovich. The two became
close and had a relationship of mutual trust and friendship under which they shared views on draft compositions and
supported each other through the most testing of times. Vainberg was in fatal peril in 1953 when his name became linked
with a campaign to make a Jewish state out of the Crimea. Shostakovich's intervention saved him from the gulags or a
bullet in the back of the head.

The Fifth Symphony has not previously been recorded. The work emerged in 1962
influenced by the first performance, after a long suppression, of Shostakovich's Fourth Symphony. It is dedicated to
Kondrashin, a lifelong Vainberg champion, who conducted the premiere of the Shostakovich work and recorded it for
Melodiya shortly afterwards. Alistair Wightman comments, in his notes, on the similarities between the music of
Shostakovich and Vainberg. The four movement Symphony is indeed bleak, has its moments of soured triumph threaded
through with disillusion. There is a beleaguered comfort about the fine tenderly plangent adagio sostenuto which is I
think more powerful than anything in Shostakovich 4. It bridges across to the tense adagios of the Roy Harris symphonies
of the 1930s and 1940s. Tension bursts the bonds at 9.01 when the tender theme thrusts forward with all the torque of a
supercharged spiritual; impressive by anyone's reckoning. The impishly playful flute and then other solo wind
instruments seem to dance in macabre delicacy in the shortish allegro. This soon takes on a distinctly Shostakovichian
edginess and dazzle before restively petering out into silence from which emerges attacca a pastoral finale. This
becomes increasingly impassioned in the raucous style of Markevitch and Mossolov at one point (5.54). All in all this is
a deeply serious symphony which hardly ever drops its guard.

There are twenty two symphonies, two
sinfoniettas, seventeen string quartets, seven operas and much else. The First of the two Sinfoniettas is included. It
is in four compact movements. Scorchingly knockabout uproar, steppe pomp, Armenian lyricism (tr.6 1.56) and Yiddish
character (e.g. the clarinet solo in the allegretto) are the order of the day. Both material and treatment are more
instantly accessible than in the much later symphony. Surprisingly the French Horn solo that initiates the Lento is
played with all the liquid Slavonic style we have come to expect from the heyday of Soviet orchestras under Mravinsky,
Ivanov and Golovanov.

Olympia have done a superb job of making many hours of Vainberg available. I rather
hope that Chandos will think of filling the gaps left in the symphony cycle by Olympia rather than duplicating their
work.

Due to the work of Claves, Russian Disc and Olympia there is now or has been quite a lot of Vainberg in
the catalogue although so much of it depends on Olympia. Chandos are set to make a major and enduring contribution if
this disc is anything to go by. Don't let this one slip into the background and don’t imagine that Vainberg is
some second league Shostakovich. He has his own perspective and his motivating sharpness, invective, Russian passion and
desolation are distinctively his own.

A classic entry. Don't miss it if you have a taste for tragic symphonic
statements.

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