Quiet contemplation on loss and war

Weinberg: Symphony No. 18; Trumpet Concerto
Andrew Balio, trumpet
St. Petersburg Chamber Choir
St. Petersburg State Symphony Orchestra
Vladimir Lande, conductor
Naxos

Mieczyslaw Weinberg's 18th symphony is the final part of a symphonic trilogy, "On the Threshold of War." Symphony No. 18, subtitled "War -- there is no word more cruel" isn't so much an anti-war statement as it is an honest portrayal of the emotional depletion felt by the survivors of conflict -- even if their victors. Overall, the work is quiet, expressing deeply-felt sorrow and loss; elegiac rather than maudlin.

Mieczyslaw's symphony uses Russian poetry quite effectively. "He was buried in the Earth," the text of the third movement is set as a simple chorale, very Russian in character -- appropriate for this poem about the death of a common foot soldier. The third movement adapts a Russian folksong that carries an undertone of disquiet before splintering into  a kaleidoscopic fugue. In the final movement, the chorus sings the poem "War -- there is no word more cruel," and the work ends with not a bang, nor whimper, but rather a calm acceptance of war's cost.

The Trumpet Concerto provides welcome emotional balance to the album. To my ears, the work uses some of Prokofiev's "wrong-note" technique, with seemingly simple melodies and harmonies not going quite the direction one expects. Trumpet soloist Andrew Balio plays with clear, full sound. Attacks are consistently clean, and the phrasing smooth and expressive. This concerto imbues the trumpet with a little bit of attitude, and Balio delivers.

Weinberg: Symphony No. 12 -- a fitting trubute

Mieczyslaw Weinberg
Symphony No. 12; the Golden Key
St. Petersburg State Symphony Orchestra
Vladimir Lande, conductor
Naxos

Mieczyslaw Weinberg's 12th Symphony is subtitled "In Memoriam D. Shostakovich." It was composed shortly after the death of his close friend and colleague and is a fitting tribute indeed. Weinberg incorporates many musical gestures of his late friend in this work, yet remains true to his own musical voice.

The symphony starts with a powerful angular unison figure that recalls similar passages in Shostakovich's music. To my ears, many sections reminded me of Shostakovich's 5th Symphony, alternating with his Op. 110 Chamber Symphony. But none of this is pastiche. The orchestration may echo Shostakovich, but the melodic and harmonic content is Weinberg's. An effective tribute to a fellow composer.

By contrast, the second work on the disc, the Golden Key is a lighthearted, upbeat ballet suite. Sometimes the melodies go a little off the rails (like early Prokofiev), but that just adds a little spice. The music is very Russian in character, and Weinberg's vibrant orchestration at times sounds dazzling.

Vladimir Lande and the St. Petersburg State Symphony Orchestra turn in solid performances of these works. Lande doing a particularly effective job of bringing out the authentic emotion of the symphony.

This is the third Naxos release of Weinberg symphonies with this ensemble. I hope there are more to follow.

Weinberg: Symphony No. 6 - A Russian composer is given his due

Weinberg: Symphony No. 6 - Rhapsody on Moldavian Themes   
St. Petersburg State Symphony Orchestra
Vladimir Lande, conductor
Glinka Choral College Boys' Choir
Naxos

Mieczyslaw Weinberg was a close personal friend as well as a colleague of Shostakovitch, and that relationship shows in his music. His Sixth Symphony opens in a manner that sounds (to my ears) very much like Shostakovitch. But while there are some stylistic similarities, there are also plenty of differences.

Weinberg was an imaginative orchestrator, particularly with his use of brass instruments. This programmatic work has a powerful message. The symphony begins with a celebration of the care-free days of youth, and moves through the horrors of war (and the death of childhood) to a tentative hope for the future. Weinberg's sparing use of a boys' choir makes the message all the more effective.

The second work on the disc is a shorter Rhapsody on Moldavian Themes. The rich melodic content of this composition makes it instantly attractive. Weinberg sounds less like Shostakovitch here (perhaps its the choice of subject matter). The music flows along in a relentless fashion, with plenty of energy and high-spirited dance motifs that almost beg to be choreographed.

Vladimir Lande leads the St. Petersburg State Symphony Orchestra in the performance of these works. The playing is first-rate, which really helps further the cause for these relatively unknown compositions. If you aren't familiar with Mieczyslaw Weinberg, this release is a good place to start.