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.

Listen

Buy

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

On record – Steve Elcock: Chamber Music Vol.1 (Toccata Classics)

The Veles Ensemble (Hartmut Richter (violin), Ralitsa Naydenova (viola), Evva Mizerska (cello), with Daniel Shao (flute), Peter Cigleris (clarinet), Yuri Kalnits (violin), Leon Bosch (double bass), Catalina Ardelean (piano)

Steve Elcock
Clarinet Sextet Op.11b (2001/14)
String Trio no.1 Op.8b (1998/2016)
The Shed Dances Op.26b (2016)
An Outstretched Hand Op.24 (2015)

Toccata Classics TOCC0506 [79’36”]

Producer & Engineer Michael Ponder

Recorded 21-22 May 2018, St Silas, Chalk Farm, London, 24 May 2018 (Sextet, Trio, The Shed Dances), Henry Wood Hall (An Outstretched Hand)

Written by Richard Whitehouse

What’s the story?

Following an impressive disc of his orchestral music (TOCC0400, reviewed on Arcana here), Steve Elcock (b1957) is given further coverage by Toccata Classics with this release of chamber music, reaffirming him as a force to be reckoned with among those symphonic composers from his generation.

What’s the music like?

Every bit as engrossing as the works on that earlier release – that is, uncompromising without being unyielding and serious without being (unduly) earnest. This is evident from the earliest piece here, Elcock’s First String Trio having been conceived for two violins and viola before reaching its present guise. A tensile single movement pivots constantly between the fractious and consoling, at times encroaching upon a more equable expression that nevertheless fails to sustain itself, and with a conclusion where even the most tenuous poise is summarily denied.

Starting out as a Concertino for clarinet and string orchestra, the Clarinet Sextet is on a larger scale – opening with an Allegro whose clear-cut sonata design opens-out intriguingly with a cadenza-like passage just before the reprise. Similarly, the Romanza is thrown off-balance by a faster central section which duly intensifies the climactic stages, and if the progress of the final Variations and Theme seems more arresting as regards form rather than content, the gentle evanescence after the theme has been elaborated feels as subtle as it is intriguing.

More immediately approachable, The Shed Dances began life as a sequence for violin and piano before being recast for clarinet and string trio. Written at the suggestion of a sufferer from the neurological condition known as ataxia, all six dances are thwarted or undermined by rhythmic imbalances that are only effortfully overcome – the most memorable being the inhibited gait of Petrified minuet, edgy impulsiveness of Boneyard antics and winsome swaying of Marion’s pavane which confirms Elcock as possessing no mean melodic gift.

Finally, to An Outstretched Hand whose inspiration in the stark contrasts of composing as an act of friendship across the centuries and the burgeoning refugee crisis across Europe became fused into this powerfully sustained single movement for flute, clarinet and piano quartet. Its sombre initial Largo is followed by two Allegros (themselves separated by a stark interlude) whose increasingly confrontational manner carries over to a final Largo which recalls earlier material in a mood that, fatalistic rather than merely defeatist, exudes the keenest poignancy.

Does it all work?

Yes, in almost all respects. It helps when these performances are so evidently attuned to this idiom, teasing subtleties out of the charged formal processes and grating expressive contrasts that are recognizable Elcock traits. The overall programme is carried by the Veles Ensemble, whose tonal finesse and tangible commitment to this music is evident throughout – which is hardly to decry the contributions of those other musicians featured here. Hopefully it should prove possible for these pieces to be heard in public performance on some future occasion.

Is it recommended?

Certainly – not least when the sound is unexceptionally fine, and the composer’s annotations are unfailingly to the point. Elcock’s growing admirers will be pleased to hear that a further disc of orchestral music (including the Fifth Symphony) is scheduled for imminent release.

Listen and Buy

You can listen to clips and purchase this disc from the Toccata Classics website