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CHAN 5078
    2 Ratings
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CHAN 5078

Weinberg: Symphonies Nos 1 and 7

The Classical Shop
release date: May 2010

Originally recorded in 2009

Artists:

Goteborg Symphony Orchestra


Thord Svedlund


Erik Risberg

harpsichord

Venue:

Concert Hall, Gothenburg, Sweden



Producer:

Lennart Dehn



Engineer:

Torbjorn Samuelsson



Record Label
Chandos

Genre:

Orchestral & Concertos




Total Time - 68:55
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MIECZYSLAW WEINBERG

(1919-1996)
   
 

Symphony No. 1, Op. 10 (1942)

39:35  
  in G minor - in g-Moll - en sol mineur  
  Dedicated to the Red Army  
1 I Allegro moderato - Doppio più lento - Larghetto - 15:10
2 II Lento 9:06
3 III Vivace - Allegretto grazioso - Tempo I 7:35
4 IV Allegro con fuoco 7:31
   
 

Symphony No. 7, Op. 81 (1964)

29:33  
  in C major - in C-Dur - en ut majeur  
  for harpsichord and string orchestra  
  Dedicated to Rudolf Barshai  
 Erik Risberg harpsichord
5 I Adagio sostenuto - 5:23
6 II Allegro - Adagio sostenuto - 5:31
7 III Andante - 4:28
8 IV Adagio sostenuto - 2:34
9 V Allegro - Adagio sostenuto 11:37
  Also available as SACD CHSA 5078


The Chandos series of Weinberg orchestral works is proving a benchmark series, and contributed significantly to his reappraisal. The most recent album by the Gothenberg forces (CHSA5064) was described as’ one of the most exciting discs to come my way in a long time… A release of the first importance, then,’ (International Record Review)

Weinberg’s music is full of orchestral colour and rhythmic energy. Shostakovich was his most important influence, and a close friend, describing him as ‘one of the most outstanding composers of the present day’. His music is reminiscent of Shostakovich’s, but with strong elements of Jewish folk music and klezmer. Weinberg composed his First Symphony, a full-scale, four-movement work in G minor in 1942, in Tashkent, the capital of Uzbekistan. He had been driven from Warsaw by the Nazi invasion in 1939 and found refuge in Minsk. Then when the Nazis invaded the Soviet Union, he had to flee again, this time by train via Moscow to Tashkent, where large where large numbers of the Russian artistic intelligentsia joined him in evacuation. Those he met there included the woman who was to become Weinberg’s first wife, Nataliya Vovsi-Mikhoels, daughter of one the most famous Russian-Jewish actors, Solomon Mikhoels. Throughout his life Weinberg understandably considered the Soviet Union his salvation, and it should come as no surprise that his First Symphony is dedicated to the Red Army, at the time of composition locked in deadly combat with the aggressors who were ravaging both his homeland and his adoptive country.
Symphony No.1 is coupled with the later Seventh Symphony, composed in 1964 for harpsichord and strings. By 1964 Weinberg had truly settled in the Soviet Union, and his work is much more settled as a result. The work conveys certain piquancy for its use of harpsichord work and was premiered by and dedicated to Rudolf Barshai.

In this the fifth album of the series Thord Svedlund, a passionate devotee of Weinberg, conducts the Gothenburg Symphony Orchestra.

“…these are two very fine symphonies. Well played and recorded.”
                                                                                  

Hecht

American Record Guide - September/October 2010

“…Recommended … with a nod of thanks to both Chandos and Svedlund for continuing their exploration of Weinberg’s musical legacy.”
                                                                

Barry Brenesal
 

Fanfare - September/October 2010

                  Performance ****      Recording *****
“… this release can be confidently recommended to those who enjoyed Chandos’s other fine discs of Weinberg’s Symphonies.
                                                                               

Erik Levi

BBC Music Magazine - October 2010

“…welcome resumption of what one hopes will include all of Weinberg’s symphonic works as well as the numbered symphonies.”
 

Richard Whitehouse

International Record Review - June 2010

“…Svedlund draws fine performances from the Gothenburg Symphony Orchestra…”  “…the tone [four sonatas] is soulful and highly individual – more classical than neo-classical, with simple but strong ideas powerfully developed. These excellent performances by Julia Rebekka Adler include a version for viola and piano of the early Sonata for Clarinet, which has some attractive Jewish intonations.”

Andrew Clark                                                    

The Financial Times - 22 May 2010

“…nostalgic and moving. Svedlund and the Gothenburgers play with dedication and spirit.”
 

Hugh Canning
 

The Sunday Times - 2 May 2010




*****
C Lester

*****
J Robinson