Mieczysław Weinberg (1919-1996)

[Scion7]

I'm going to have to strongly +1 the Violin Concerto, also - very good.

[vandermolen]

Yes, that's all very well but what about Symphony 22?

[Scion7]

Oh, very WELL, if you're going on and on,
I suppose we can give it a listen:

https://www.youtube.com/results?search_query=WEINBERG-Symphony+No.+22%2C+Op.+154%3A



I will always be mistrustful of it, however - not being orchestrated by the master himself.
Therein, the seeds of doubt were sown, and a sense of disquiet can never be eliminated.

The initiative to orchestrate Mieczysław Weinberg's 22nd Symphony and have it performed in the 2003 'Moscow Autumn' festival came from the composer's widow, Olga Yulyevna Rakhalskaya, and the directors of the Moscow Composers' Union, in particular its chairman Oleg Borisovich Galakhov. It was Olga Yulyevna who passed the score to me so that I could work on it. Weinberg left the music as a piano score which was very lucidly presented – for example, there was never any doubt as to the notes that he wanted – but only in a few places were there indications of the instrumentation he had in mind or, as in the development of the first movement, sequences of dynamic markings.
Before I started my work on orchestrating the 22nd Symphony, I went through the scores of something like half of Weinberg's other symphonies in order to study them and to immerse myself more deeply in his symphonic style; I paid especial attention to Symphony No. 21 as the work written immediately before No. 22. But it wasn't a question of simply 'applying' the scoring of his earlier works to this one: I learned from them, naturally, and did my best to understand the principles governing his work, but I tried to let the music of No. 22 suggest its own instrumental colours.
I worked on the orchestration during the winter of 2001 in 'Ruza', the Artistic Residence for Composers in the Moscow Region, where in earlier years Weinberg himself often stayed and worked. Awareness of this fact helped me work and inspired me in a special way.
The first performance of the 22nd Symphony took place on 11 November 2003, performed by the Symphony Orchestra of the Belgorod State Philharmonic Society under the direction of Alexander Shadrin.  ~ by Kirill Umansky

[vandermolen]

Oh, very WELL, if you're going on and on,
I suppose we can give it a listen:

https://www.youtube.com/results?search_query=WEINBERG-Symphony+No.+22%2C+Op.+154%3A



I will always be mistrustful of it, however - not being orchestrated by the master himself.
Therein, the seeds of doubt were sown, and a sense of disquiet can never be eliminated.

The initiative to orchestrate Mieczysław Weinberg's 22nd Symphony and have it performed in the 2003 'Moscow Autumn' festival came from the composer's widow, Olga Yulyevna Rakhalskaya, and the directors of the Moscow Composers' Union, in particular its chairman Oleg Borisovich Galakhov. It was Olga Yulyevna who passed the score to me so that I could work on it. Weinberg left the music as a piano score which was very lucidly presented – for example, there was never any doubt as to the notes that he wanted – but only in a few places were there indications of the instrumentation he had in mind or, as in the development of the first movement, sequences of dynamic markings.
Before I started my work on orchestrating the 22nd Symphony, I went through the scores of something like half of Weinberg's other symphonies in order to study them and to immerse myself more deeply in his symphonic style; I paid especial attention to Symphony No. 21 as the work written immediately before No. 22. But it wasn't a question of simply 'applying' the scoring of his earlier works to this one: I learned from them, naturally, and did my best to understand the principles governing his work, but I tried to let the music of No. 22 suggest its own instrumental colours.
I worked on the orchestration during the winter of 2001 in 'Ruza', the Artistic Residence for Composers in the Moscow Region, where in earlier years Weinberg himself often stayed and worked. Awareness of this fact helped me work and inspired me in a special way.
The first performance of the 22nd Symphony took place on 11 November 2003, performed by the Symphony Orchestra of the Belgorod State Philharmonic Society under the direction of Alexander Shadrin.  ~ by Kirill Umansky

Many thanks for this.

[Scion7]

Many thanks for this.

Shostakovich might have given it a more authentic treatment - who knows.
In its present form, in any case, I can't call it a favorite.

[Karl Henning]

Only Weinberg could have scored it.  All Umansky could do is study the previous scores and use them as guides;  but of course, that is not how the composer would have worked.  He would go beyond what he had done before, which is nothing which Umansky might do with any claim of legitimacy in the endeavor.

Just saying.

[71 dB]

Only Weinberg could have scored it.  All Umansky could do is study the previous scores and use them as guides;  but of course, that is not how the composer would have worked.  He would go beyond what he had done before, which is nothing which Umansky might do with any claim of legitimacy in the endeavor.

Just saying.

In other words, there is only 21 symphonies.

[Karl Henning]

And a piano score for the 22^nd.

[nathanb]

Weinberg was the strangest choice NEOS ever made.

[Scion7]

https://www.youtube.com/watch?v=DVFRUOMpFwI

I don't think this is available as a studio take?

[jlaurson]

Weinberg was the strangest choice NEOS ever made.

Die Passagierin buttered their bread and allowed them to continue what they are doing.
Aside... stranger than recording Beethoven's Third in a HIP-orchestral sized version in the Eroica Hall of the Palais Lobkowitz? (Where it got its first [private] performance?)

[SurprisedByBeauty]

The 10 Best Classical Recordings Of 2016
#10 Weinberg: http://bit.ly/Forbes_Best_Classical_Recordings_2016_New


Latest on Forbes:

The 10 Best Classical Recordings Of 2016 (New Releases)

http://www.forbes.com/sites/jenslaurson/2017/01/01/the-10-best-classical-recordings-of-2016-new-releases/#7799de0e6802

[Karl Henning]

Gidon Kremer played the Violin Concerto at Symphony last night, a wonderful experience.  Much that is exquisitely beautiful, definitely a piece to revisit.

[Scion7]

Slowly, but surely, the public is being more and more made aware of this composer.

[Wieland]

Slowly, but surely, the public is being more and more made aware of this composer.

I am just back from a concert with the German Premiere of Weinbergs 21. Symphony. Thomas Sanderling was conducting the Staatsorchester Stuttgart (that's the Opera Orchestra) with Mandy Fredrich as soloist. It was the first time that I experienced a Weinberg symphony live and at one the best seats of the house. A tremendous experience. The music is still turning around in my head. What a gorgeous piece of music. And Thomas Sanderling was mesmerizing and himself mesmerized by the music. The reception by the audience was very good, six or seven calls. Unfortunately, it was not recorded.
.

[Mirror Image]

Slowly, but surely, the public is being more and more made aware of this composer.

Unfortunately, Weinberg is one of those niche composers that doesn't get much attention aside from some record labels that putting out some of his music. This said, his Symphony No. 5, the Cello Concerto, and the Piano Quintet are my favorites from him.

[vandermolen]

Unfortunately, Weinberg is one of those niche composers that doesn't get much attention aside from some record labels that putting out some of his music. This said, his Symphony No. 5, the Cello Concerto, and the Piano Quintet are my favorites from him.

+1 although I don't know the Cello Concerto well. Symphonies 1,3 and 6 are also excellent IMHO.

[SurprisedByBeauty]

Unfortunately, Weinberg is one of those niche composers that doesn't get much attention aside from some record labels that putting out some of his music. This said, his Symphony No. 5, the Cello Concerto, and the Piano Quintet are my favorites from him.

While your comment is generally true, at least it is heartening that many performers (and as you said: several labels) DO find him to be a valuable niche. Programming of Weinberg in 'big spots' (i.e. the concerto or symphony slot) is still difficult, but in recitals he works. And opera houses have found success with his works, especially Bregenz and Mannheim (Passenger / Idiot). In fact, of all the niche-composers, there's probably no other that gets as much attention as does Weinberg, however little that still is in absolute terms.

[Karl Henning]

I hope Karlo is a-vacationing.

But I wanted to share that I pulled the trigger on the complete string quartets box.

[North Star]

I hope Karlo is a-vacationing.

But I wanted to share that I pulled the trigger on the complete string quartets box.

Returning tomorrow, actually. A wise decision, Karl - I'll have to get back to work on that set soon.