On record – Weinberg: Complete Violin Sonatas Volume Three (Yuri Kalnits & Michael Csányi-Wills) (Toccata Classics)

weinberg-violin-sonatas

Mieczysław Weinberg
Violin Sonata no.3 Op.37 (1947)
Violin Sonata no.6 Op.136bis (1982)
Solo Violin Sonata no.3 Op.126 (1979)

Yuri Kalnits (violin), Michael Csányi-Wills (piano)

Toccata Classics TOCC00096 [60’36”]

Producers Yuri Kalnits, Michael Csányi-Wills
Engineer Rupert Coulson

Recorded 9-12 July 2016 at St John’s Fulham, London; 7-8 July 2020 at K Studios, London (Solo sonata)

Written by Richard Whitehouse

What’s the story?

After a lengthy hiatus, Toccata Classics duly continues its series devoted to the violin sonatas by Mieczysław Weinberg with this third volume featuring two further sonatas with piano and the last of his solo sonatas – in performances comparable to those on the earlier two volumes.

What’s the music like?

It is a measure of how the Weinberg discography has grown that, in the decade or more since this cycle commenced, all the composer’s violin sonatas have now been recorded on several occasions. Good, then, that Toccata has opted to see it through as the interpretative stance of Yuri Kalnits and Michael Csányi-Wills is a persuasive one – not least for the subtlety of its interplay between violin and piano such as underlines the increasingly and flexibly idiomatic nature of Weinberg’s writing for a medium that remains problematic whatever its popularity.

With the Third Sonata (1947), Weinberg achieved an all-round assurance as is evident from the flexible handling of content within each of these progressively longer movements. Thus, the moderately paced initial Allegro exudes a purposefully provisional feel, fulfilled by the central Andantino with its achingly expressive deployment of Jewish folk elements, before being intensified in the final Allegretto cantabile that moves adeptly between eloquent and energetic ideas prior to a Lento coda which brings the work deftly and movingly full-circle.

Unlike its predecessors the Third Solo Sonata, dedicated to the memory of the composer’s father, unfolds as a continuous span which, though it can be viewed as several interrelated movements, is more akin to variational episodes on the motives heard at the outset. As if to underline this audacity, the writing for violin is the most resourceful and imaginative to be found in in any of these pieces – a heady succession of mood and textures such as reaffirms Weinberg’s technical and creative mastery when confronting apparent restrictions head-on. 

Weinberg abandoned the duo medium in the late 1950s and when the Sixth Sonata emerged, it went unacknowledged until 2007. Yet a work dedicated to the memory of his mother must have held a deeply personal significance. The initial Moderato, where the instruments come together only at the centre and are framed by an anguished prologue for violin then resigned epilogue for piano, speaks of intensely subjective emotion – as do the elegiac central Adagio and a finale which surveys previous material in a more consoling if ultimately fatalistic light.

Does it all work?

Yes, not least given the widely differing concept that underlies each piece (further proof that Weinberg repeated neither himself nor other composers), as well as the undemonstrative yet searching approach of the performers. Others may favour the commanding rhetoric of Linus Roth (Challenge Classics) or the forthright incisiveness of Stefan Kirpal (CPO), but the more understated manner of Kalnits and Csányi-Wills likely brings out the inward intensity of this music more completely. As a cycle for repeated listening, it should prove difficult to surpass.

Is it recommended?

Indeed, abetted by almost perfect instrumental balance and detailed notes by David Fanning. A fourth volume – which, other than the early Three Pieces, might feature the Sonata for Two Violins and Gidon Kremer’s arrangement of the 24 Preludes for cello – is keenly anticipated.

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You can discover more about this release at the Toccata Classics website, where you can also purchase the recording. You can read more about Yuri Kalnits here, and more about Michael Csányi-Wills here

In concert – Karen Cargill, CBSO / Mirga Gražinytė-Tyla: Mirga conducts Weinberg

Mirga

Karen Cargill (mezzo-soprano, below), City of Birmingham Symphony Orchestra / Mirga Gražinytė-Tyla (above)

Weinberg Rhapsody on Moldavian Themes Op.47/1 (1949)
Mahler Rückert-Lieder (1901-02)
Weinberg Symphony no.3 in B minor Op.45 (1949-50, rev. 1960)

Symphony Hall, Birmingham
Wednesday 23 June 2021 (6.30pm)

Written by Richard Whitehouse Photo of Karen Cargill courtesy of Nadine Boyd Photography

The music of Mieczysław Weinberg has been a prominent feature in the City of Birmingham Symphony Orchestra’s programmes with its music director Mirga Gražinytė-Tyla, and the Rhapsody on Moldavian Themes duly started this latest of the orchestra’s concerts in impressive fashion.

Written when Soviet composers were under intense pressure to create music of a populist – or rather, nationalistic – nature, its recourse to melodies emanating from the region of Bessarabia (from where the composer’s parents hailed) draws directly on a lineage from Liszt to Bartók and Kodály. Weinberg’s handling of these, in its subtle take on a slow-fast trajectory, is never less than assured. MGT undoubtedly had its measure, whether in the ruminative opening with its plangent woodwind or the boisterous later stages when brass comes irresistibly to the fore.

Itself a revival (having been played at Symphony Hall in 2019 then at that year’s Proms), the Third Symphony is a more considered response to the anti-formalist campaign spearheaded by Andrei Zhdanov with the intention of making Soviet music more accountable to its public. Hence the inclusion of Belorussian and Polish folksong, though Weinberg is mindful to offset these with a formal rigour as, in the initial Allegro, ensures an emotionally restless unfolding to a coda shot-through with foreboding – one of several passages likely made more explicit in the subsequent revision. Here, as in the wistful second theme (akin to what Malcolm Arnold was writing around this time) then a climactic transition heading into the reprise, the CBSO’s playing underlined its ongoing affinity with this music which held good through to the close.

Hardly less idiomatic was the scherzo’s interplay of capricious with a more sardonic humour, then the Adagio’s sustained yet cumulative progress towards a climax of stark tragedy – only slightly pacified in the inward closing phase. If the animated finale strives to secure an overly affirmative ending, it was a measure of this account that any such optimism was held in check until the peremptory last bars. Weinberg could scarcely have hoped to hear a more perceptive performance: good to hear both this and the Rhapsody were being recorded for future release.

Between these pieces, Karen Cargill joined the CBSO for Mahler’s Rückert-Lieder (evidently the first time the orchestra has given them since baritone Olaf Bär with Simon Rattle in 1992). She drew a keen irony from Blicke mir nicht in die Lieder, then rendered Ich atmet’ einen linden Duft with appealing deftness. With its fugitive writing for woodwind and brass, and a fervent climax capped by garish arabesques from piano, Um Mitternacht is a difficult song to bring off but was notably effective, and the only disappointment was a rather inert take on Liebst du um Schönheit – Max Puttmann’s sub-Léhar orchestration at least partly to blame. Nor was Ich bin der Welt abhanden gekommen ideally transcendent, yet the eloquence of Cargill’s response left no doubt concerning its status as arguably the greatest orchestral Lied.

A judiciously planned concert, then, in which the rapport between orchestra and conductor came through these past 15 months unscathed. The CBSO returns next Wednesday with its principal guest conductor Kazuki Yamada in a programme of Julian Anderson and Dvorák.

You can find information on the CBSO’s next concert at their website

Live review – Nicola Benedetti, Royal Scottish National Orchestra / Thomas Søndergård: Polska Scotland opening concert

nicola-benedetti-rsno

Nicola Benedetti (violin, photo by Martin Shields), Royal Scottish National Orchestra Thomas Søndergård

RSNO Studio, Glasgow
Broadcast Friday 16 April 2021, available online until Friday 30 July 2021

Weinberg Rhapsody on Moldavian Themes Op.47/1 (1949)
Szymanowski Violin Concerto no.1 Op.35 (1922)
Panufnik Sinfonia Sacra (Symphony no.3) (1964)

Written by Ben Hogwood

The first concert of the Royal Scottish National Orchestra’s Polska Scotland season provided a tempting mix of 20th century pieces. The season is exploring connections between the two countries, and watching the accompanying video (at the bottom of this page) reveals a number of interesting and pertinent connections, not least in the orchestra itself.

The choice of repertoire here was refreshing, too. Szymanowski’s Violin Concerto no.1 is more of a regular repertoire piece these days, but the same could certainly not be said of the inclusions from Mieczysław Weinberg, the Polish composer who found his way to Moscow in the 1940s, and Andrzej Panufnik, who fled Warsaw for London ten years later.

Weinberg’s parents moved to Poland from Moldova in 1916, and this concert began with the composer’s Rhapsody on Moldavian Themes, exploring the heritage of his parents through the development of contrasting folk tunes. In this way he was following the lead of folk-based pieces for orchestra from the likes of Kodály, Enescu and Bartók, relishing the chance to project and develop the music of their home countries through the concert hall.

The RSNO strings were appropriately deadpan at the start, their cold and muted contributions expertly controlled and matched by suitable lighting in the hall. The woodwind gave heartfelt, soulful contributions, as did the orchestra leader, violinist Sharon Roffman, and these led to thrills and spills as the RSNO powered through the faster sections, urged on by Thomas Søndergård.

Polska-scotland

Nicola Benedetti was the soloist in Szymanowski’s Violin Concerto no.1, a piece she started to play at the age of 16. Having lived with it for approximately the same length of time, she noted the increased popularity of the piece – and talked through how conductor Sondergaard’s vision of the music was slower than hers, giving her a renewed perspective.

The violin emerged rather magically from the brief but colourful orchestral introduction and dominated almost throughout, rich of tone and with extremely secure intonation. The vivid colours were an overriding feature of this performance, Søndergård achieving a sound balance between soloist and orchestra, but within the ensemble he probed the deeper shades of Szymanowski’s lyrical writing. Benedetti was passionate and driven, the searing high notes carrying easily above the orchestra and then doing their own work in ardent outpouring of the complex cadenza. Søndergård gave the piece more room than it normally receives, but this was to its benefit – and the capricious ending was beautifully weighted.

First violinist Jane Reid then recounted a Polish tour for the orchestra in 1978, which opened with Panufnik’s Sinfonia Sacra, receiving its first performance in the country. It was a daring choice from conductor Sir Alexander Gibson, given the composer’s departure for London in 1954, but Reid’s vivid account spoke of tears in the Warsaw audience. Indeed, it is hard to understand why the piece is not performed more today – given the Weinberg revival of late, the music of Panufnik is just as deserving.

This performance from the RSNO was intensely moving. The powerful opening fanfares of Vision I from the brass were razor sharp, and cut to an equally heartfelt Vision II from the strings, icy cold music of solemn countenance. This was blown apart by Vision III, where driven percussion gave way to onrushing strings the surging brass in music of dissonance and disquiet. The contrast with the final Hymn was even greater, the strings united again in a cold chorale, but gradually the music thawed and grew in power.

Sondergård expertly marshalled this section and its steady build, taking a broad tempo but controlling the unwavering intensity of Panufnik’s writing. The brass fanfares were resolute, but the final statement of the hymn had great resolve, an ultimately triumphant end – even if the dissonances remained, defiant to the finish.

This was a superb start to a season which promises much, with works to come from Lutosławski, Bacewicz and more Szymanowski – Nicola Benedetti will return to play his Violin Concerto no.2. On this evidence, all the online concerts are highly recommended.

You can watch the concert on the Royal Scottish National Orchestra website here

For more information on the Royal Scottish National Orchestra digital season, you can visit their website here

Live review – April Fredrick, Zoë Beyers, English Symphony Orchestra / Kenneth Woods: Inspired by Mahler

April Fredrick (soprano, above), Zoë Beyers (violin), English Symphony Orchestra / Kenneth Woods

Mahler (arr. Stein) Das irdische Leben (1892/1900)
Weinberg Concertino for Violin and Strings, Op. 42 (1948)
Schulhoff Suite for Chamber Orchestra, Op. 37 (1921)
Ullmann (arr. Woods) Chamber Symphony op 46a (1943/1999)

Wyastone Concert Hall, Monmouth
Recorded in 2020 for online broadcast, Wednesday 27 January 2021

Written by Richard Whitehouse

The Holocaust Memorial Day is a timely opportunity to hear music anticipatory of, inspired by or stemming from events that have defaced human history on all too many occasions, and which provided the basis for this latest online concert from the English Symphony Orchestra.

The underlying tone for this programme was set by Mahler, with one of his settings of texts from the folk collection Des knaben Wunderhorn. In pivoting between the child’s supplication and his mother’s entreaties, over the fateful strains of a ceaseless ‘treadmill’ accompaniment, The Earthly Life is one of the composer’s most evocative songs – not least its portrayal of the child’s existence running out as though this were grains of sand. April Fredrick accordingly invested the vocal part with just the right combination of ominous dread and lingering pathos.

ESO leader Zoë Beyers then took centre-stage for Weinberg‘s Violin Concertino, the product of late-1940s Soviet culture when accessibility was not just desired but prescribed. Modest in expressive scope next to those chamber works that preceded it, this work is highly appealing – not least in the deftness and subtlety with which the composer unfolds his ideas across an ingratiating Allegretto, ruminative Adagio (whose cadenza-like introduction brings the most arresting music in the whole work), then a final Allegro whose thematic interplay is nothing if not resourceful. Beyers rendered it with unfailing eloquence, making it clear just why this attractive piece – which had to wait almost half a century for a first public hearing – should now have established itself among the most often performed of Weinberg’s orchestral works.

In telling contrast, Erwin Schulhoff’s Suite for Chamber Orchestra was a pert reminder of the composer’s usage of jazz as part of a lifelong and tragically curtailed stylistic odyssey. While the faster numbers recall the wit of Poulenc’s earlier chamber music and irony of Stravinsky’s suites for theatre orchestra, the Valse Boston (its soulful violin solos hauntingly rendered by David Juritz) and Tango admit of a searching introspection to the fore in those works from Schulhoff’s last years. Qualities which are pointedly side-lined by the uproarious final Jazz.

The final work provided the culmination in every respect. Written during internment at the transit camp of Terezin (aka Theresienstadt), the Third String Quartet is Viktor Ullmann’s likely instrumental masterpiece – in terms both of its formal unity and expressive diversity – and whose transcription onto the larger canvas has been persuasively achieved by Kenneth Woods. Chamber Symphony makes a not inappropriate title, this single span drawing the contrasted movements into a seamless and finely-balanced whole – the initial theme acting as a soulful refrain between the angular scherzo with its waltz-like undertow then, after the terse development, a fugal Largo whose accrued intensity carries over into the final Rondo with its striving towards a fervent restatement of the ultimately transfigured ‘motto’ theme’.

An imposing work, given a committed reading by this orchestra under its arranger in what was an appropriate tribute for the day. The ESO’s online series is scheduled to continue on the 26th of February, with a portrait concert of the American composer Steven R. Gerber.

You can watch the concert on the English Symphony Orchestra website from 7.30pm on Wednesday 27 January 2021 here

For more information on the English Symphony Orchestra you can visit their website here

On record: Weinberg: Wir Gratulieren! (Congratulations!) – Vladimir Stoupel (Oehms Classics)

Weinberg arr. Henry Koch
Wir Gratulieren! (Congratulations! orig. Mazl tov!) Op.111 (1975)

Beylya – Olivia Saragosa (contralto), Reb Alter – Jeff Martin (tenor) Khaim – Robert Elibay-Hartog (baritone) Fradl – Anna Gütter (soprano) Madame – Katia Guedes (soprano), Kammerakademie Potsdam / Vladimir Stoupel

Producer Hein Laabs Engineer Henri Thaon
Recorded 23 September 2012, Werner-Otto-Saal, Konzerthaus, Berlin

Oehms Classics OC990 [two discs, 80’23”]

Reviewed by Richard Whitehouse

What’s the story?

Oehms Classics issues this first recording of a one-act opera by Mieczysław Weinberg, taken from a live performance in Berlin to the German translation by Ulrike Patow, as adapted by the composer from the drama by Sholom Aleichem (indirectly of Fiddler on the Roof fame).

What’s the music like?

Those having heard Weinberg’s first opera, the powerfully dramatic The Passenger (Neos or ArtHaus), or his last, the darkly inward The Idiot (Pan Classics) will find Mazl tov! something different again.

By the mid-1970s, the composer felt able to pen an intrinsically Jewish opera with recourse to the song and dance idioms familiar from the Yiddish theatre of his Warsaw youth, and a decidedly sardonic tone not far removed from the interwar stage works of Weill or Eisler. Any risk of provoking Soviet officialdom was offset by a vein of Socialist optimism in the ‘masters versus servants’ scenario, culminating in a ‘things will be different’ outcome. Divided into two acts (55 and 25 minutes), the narrative allows for incremental though subtle development of the four protagonists as they move as if pre-destined to their double wedding.

Does it all work?

Yes, inasmuch that this music, played in an adept reduction for chamber orchestra by Henry Koch, is itself characterful as well as ideally suited to the domestic tragicomedy at hand. Each of the four main singers is allotted their share of the limelight, without these soliloquys either detracting from or impeding the onward flow of the drama, and those familiar with Weinberg will detect various motifs or phrases that re-emerge in the symphonies and string quartets he was to write across the next decade – making for a work as central to his output as any other.

As to the cast, Olivia Saragosa brings no mean pathos to the cook Beylya, recently widowed and in thrall to an ungrateful mistress, while Jeff Martin evinces humour and no little stealth as Reb Alter, the travelling bookseller whose radical thinking motivates all those around him. Robert Elibay-Hartog is no less persuasive in the role of Khaim, servant from a neighbouring estate whose charm and panache gradually win over the maid Fradl, whose initial monologue summons the most affecting music of the entire opera and who arguably emerges as the most liberated by the close. Katia Guedes is equally arresting as Madame, her cameo appearances galvanizing the drama not least in the final scene as she is faced down by her moral superiors. Note that Weinberg’s alternative, more expressively ambivalent ending is used at this point.

Is it recommended?

Indeed. Vladimir Stoupel secures a vibrant response from the musicians of Kammerakademie Potsdam, heard to advantage within the confines of the chamber hall at Berlin’s Konzerthaus, even if those demands of a live performance mean balance with the singers is not consistent. The booklet is attractively produced with full artist biographies and production sketches, but Arno Lücker’s introductory note is only adequate and the German-only libretto has numerous entries printed under the wrong singer. An English translation is available online (see below).

Hopefully, an alternative recording or production of Mazl tov! – preferably with the original orchestration and in Russian – will emerge in due course. For now, however, this lively and capable production should engage and amuse listeners as audibly as it did its Berlin audience.

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For further information, audio clips and purchase information visit the Presto website