Mieczysław Weinberg - Chamber Symphonies Nos. 3 & 4 (Thord Svedlund)

Information

Composer: Mieczysław Weinberg

• Chamber Symphony No. 3 in B flat major, Op. 151
• Chamber Symphony No. 4 in B major, Op. 153

Helsingborg Symphony Orchestra

Thord Svedlund, conductor

Date: 2015

Label: Chandos

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Review

Mieczysπaw Weinberg’s time would certainly seem to be now. Advocacy plays a big part in that, of course, and recent champions such as the young German violinist Linus Roth – whose recordings of the Violin Concerto and sonatas (Challenge Classics, 9/13, 7/14) have really whetted appetites – can really bring about a sea change in interest. This latest release of late chamber symphonies (and be advised the numbering belies the presence of 21 earlier symphonies) further adds to the fascination, and such is the emotional and highly personal nature of Weinberg’s musical language that it’s nigh on impossible not to be drawn into his confidence.

The opening Lento of Symphony No 3 for string orchestra, which is in turn directly derived from his String Quartet No 5 (these pieces not only evolve from earlier works but thrive on self-quotation from elsewhere in his oeuvre), is entitled ‘Melody’ and that is precisely what you get – an unvarnished unison in search of harmony and development (very Bartókian), both of which it finds before emerging once more as the purest ‘confessional’. In the boisterous and explosive second movement it’s as if both Britten and Shostakovich have morphed into a dynamic and wilful alliance. Weinberg undoubtedly gets his immediacy and nose for atmosphere from Shostakovich (his self-confessed idol – and there was mutual admiration) but he is his own man and full of surprises. A boldness and directness prevails and he clearly relishes the gamesmanship of composition – like the freewheeling Andantino finale of this piece.

The Fourth opens with a great example of what makes Weinberg’s themes so individual: a ‘Chorale’ borrowed from his opera The Portrait, it’s a total ‘earworm’. But suddenly there is an obbligato clarinet among the strings and with it a multitude of Klezmer associations. That clarinet enjoys a wild ride in the second-movement Allegro molto, and again the rug is pulled from beneath us at the close when solo violin and cello are given quite unexpected monologues like afterthoughts on what has passed. An aching folksiness pervades the slow movement and a triangle offers two single shafts of light at the beginning and very end (a tiny touch of genius) of a final movement which seems to have been composed in the playing of it.

The Helsingborg Symphony Orchestra under Thord Svedlund make an excellent case for these intriguing pieces and Chandos brings them to us with vivid immediacy. Weinberg is coming in from the cold.

— Edward Seckerson

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Mieczysław Weinberg (8 December 1919 – 26 February 1996) was a Polish-born Soviet and Russian composer and pianist. Born in Warsaw to a family connected with Yiddish theatre, he fled Poland in 1939 following the German invasion and settled in the Soviet Union, where he gained the support of Dmitri Shostakovich. Weinberg became a prolific and respected composer, particularly during the 1960s, when his concert and film music achieved considerable recognition. His later years were marked by declining health and reduced official support. International appreciation of his music grew significantly in the 1990s.

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Thord Svedlund (born 14 October 1954) is a Swedish violinist and conductor. Having studied in Sweden, the USA and The Netherlands, he had served as a violinist in the Gothenburg Symphony Orchestra for twenty years. In 1991 Svedlund embarked on a conducting career that has earned him praise by critics and audiences alike. He has conducted several of Sweden's leading orchestras, including the Gothenburg, Norrköping and Umeå, and has also been invited to conduct in Shanghai, China. Svedlund's discography includes music by composers ranging from Bach and Haydn to the contemporary Swedish scene.

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