Weinberg Flute Concertos: No.1 Op.75 (1961); No.2 Op.148 (1987); 12 Miniatures Op.29bis (1945/83); Trio for Flute, Viola and Harp Op.127 (1979)
Antonina Styczeń (flute), Paweł Czarny (viola), Zuzanna Fedorowicz, Polish Chamber Philharmonic Orchestra / Wojciech Rajski
What’s it all about?
The complete output for flute and orchestra of Mieczysław Weinberg (1919-96), played by an artist of high calibre (and not merely as a flautist!), with the first recording of an arrangement by a composer whose stranding has risen immeasurably over the two decades since his death.
What’s the music like?
Weinberg’s flute concertos provide a revealing insight into his music at key junctures of his career. The First Concerto is one of a group of pieces, including the Fourth Symphony and Violin Concerto, that finds Weinberg refocussing his approach to abstract composition in the wake of Stalin’s death; culminating in the formidable cohesion of the Fifth Symphony a year later. Modest in scope, it unfolds from a lively initial Allegro, via a Largo of exquisite poise to a final Allegro whose teasing understatement is brusquely curtailed only at the very last.
By the time of his Second Flute Concerto, Weinberg was struggling with failing health and his eclipse by a younger and ostensibly more provocative generation of composers. Not that this piece evinces defeatism or self-pity; instead refining the conception of its predecessor so that the angular opening Allegro affords potent contrast with a Largo of affecting poignancy, then with a fugitive Allegretto. Allusions to Bach, Gluck et al flit by in the latter as Weinberg reflects on this instrument as also his evolution as a composer across more than five decades.
What makes this disc mandatory for all admirers of Weinberg is its first recording of the 12 Miniatures, initially conceived with piano accompaniment then arranged for string orchestra some 38 years later. On one level a sequence of improvisatory gestures, discreetly contrasted as to texture and expression, they yet emerge as an engaging unity almost despite themselves. Nor is it surprising that, heard in this way, these pieces seem more a product of Weinberg’s last years – during which time his musical idiom became ever more distilled and refractory.
Although never envisaged as other than a chamber work, the Trio for Flute, Viola and Harp might itself be thought a concerto manqué; sharing as it does the concertos’ three-movement form, alongside their undemonstrative juxtaposing of animated and introspective. Debussy’s totemic sonata for these instruments could hardly not be referred to during its course, yet the means-by which they combine, thereby resulting in music of far from untroubled serenity, is Weinberg’s alone. A ‘one-off’ in his output, it could not be mistaken for any other composer.
Do the performances do it justice?
Yes. Antonina Styczeń is a flautist as adept technically as she is insightful interpretively. She enjoys evident rapport with the Polish Chamber Philharmonic Orchestra of Sopot, as also her fellow players in the trio. Accounts of the concertos from Anders Jonhäll (Chandos, coupled with the Cello Fantasia and Clarinet Concerto), are more atmospheric while less characterful; among three other recordings of the trio, avoid that on BIS as this substitutes piano for harp – with unfortunate results. The present disc is admirably recorded and informatively annotated.
Is it recommended?
Indeed. Styczeń is clearly a musician to watch. In addition to her flute playing, she is also a skilled horse-rider (as is made plain by the booklet photos) and intends to combine these two media in future. Happily, she falls at none of the fences encountered in Weinberg’s music!
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