Mieczysław Weinberg - Cello Concerto, Op. 43 (1948)
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- เผยแพร่เมื่อ 1 พ.ค. 2024
- Mieczysław Weinberg (also Moisey or Moishe Vainberg, Moisey Samuilovich Vaynberg; Russian: Моисей Самуилович Вайнберг; Polish: Mojsze [Mieczysław] Wajnberg; 8 December 1919 - 26 February 1996) was a Polish-born Soviet composer. Ever since a revival concert series in the 2010 Bregenz Festival in Austria, his music has been increasingly described as "some of the most individual and compelling music of the twentieth century".[1] Weinberg's output was extensive, encompassing 26 symphonies, 17 string quartets, nearly 30 sonatas for various instruments, 7 operas, and numerous film scores.
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Cello Concerto in C minor, Op. 43 (1948)
Dedication: Mstislav Rostropovich
1. Adagio (0:00)
2. Moderato (7:06)
3. Allegro (12:04) Cadenza (18:30)
4. Allegro (21:37)
Dmitry Khrychev, cello and Saint Petersburg State Academic Symphony
Orchestra conducted by Alexander Titov
Although Weinberg never formally studied with Shostakovich, the older composer had an obvious influence on Weinberg's music. This is particularly noticeable in his Twelfth Symphony (1975-1976, Op. 114), which is dedicated to the memory of Shostakovich and quotes from a number of the latter's works. Other explicit connections include the pianissimo passage with celesta which ends the Fifth Symphony (1962, Op. 76), reminiscent of Shostakovich's Fourth; the quote from one of Shostakovich's Preludes and Fugues in Weinberg's Sixth Piano Sonata (1960, Op. 73); and numerous, strung-together quotes from Shostakovich's First Cello Concerto and Cello Sonata (4th movement) in Weinberg's 21st Prelude for Solo Cello. These explicit connections should not be interpreted, however, to mean that musical influences went in only one direction (from Shostakovich to Weinberg). Indeed, Shostakovich drew significant inspiration from Weinberg's Seventh Symphony for his Tenth String Quartet; Shostakovich also drew on some of the ideas in Weinberg's Ninth String Quartet for the slow movement of his Tenth Quartet (opening bars of Weinberg's Ninth), for his Eleventh Quartet (first movement of Weinberg's Ninth) and for his Twelfth Quartet (F-sharp major ending); and in his First Cello Concerto of 1959, Shostakovich re-used Weinberg's idea of a solo cello motif in the first movement that recurs at the end of the work to impart unity, from Weinberg's Cello Concerto (1948, Op. 43).
It is also important to note that Weinberg does not restrict himself to quoting Shostakovich. For example, Weinberg's Trumpet Concerto quotes Mendelssohn's well-known Wedding March; his Second Piano Sonata (written in 1942, before moving to Moscow) quotes Haydn; and his Twenty First Symphony quotes a Chopin ballade. Such cryptic quotations are stylistic features shared by both Weinberg and Shostakovich.
The discussion above highlights that mutual influences and stylistic affinities can be found in many works by the two composers, no doubt as a result of their close friendship and similar compositional views.
On 13 January 1948 Weinberg's father-in-law Mikhoels was assassinated in Minsk on Stalin's orders; shortly after Mikhoels's murder, Soviet agents began following Weinberg. In February 1953, he was arrested on charges of "Jewish bourgeois nationalism" in relation to the murder of his father-in-law as a part of the so-called "Doctors' plot": Shostakovich allegedly wrote to Lavrenti Beria to intercede on Weinberg's behalf, as well as agreeing to look after Weinberg's daughter if his wife were also arrested. In the event, he was saved by Stalin's death the following month, and he was officially rehabilitated shortly afterwards.
Thereafter Weinberg continued to live in Moscow, composing and occasionally performing as a pianist. He and Shostakovich lived near to one another, sharing ideas on a daily basis. Besides the admiration which Shostakovich frequently expressed for Weinberg's works, they were taken up by some of Russia's foremost performers and conductors, including Emil Gilels, Leonid Kogan, Kirill Kondrashin, Mstislav Rostropovich, Kurt Sanderling, and Thomas Sanderling. - เพลง
Weinberg's music is delicate, harmonious, smoothly comfortable, but with significant personal character. I like his musical language.
Brilliant use of a single motive for an entire concerto! I love the quasi-fugal treatment of the motive starting at m. 284 of mov.IV, where the lower voices state the motive as an accompaniment varied in mixed augmentation. Masterful writing.
Being able to follow the score enables one to appreciate Weinberg's use of harmony. While basically tonal and triadic, it plays close to the edges; the raised fourths and flattened thirds and seconds impart a distinctively Jewish quality. This Shostakovich learned from Weinberg, not the other way round.
Wunderschöne und überzeugende Interpretation dieses neoromantischen und perfekt komponierten Konzerts mit seidigem doch etwas neue.sachlichem Ton des genialen Solocellos sowie gut vereinigten und perfekt entsprechenden Tönen der anderen Instrumente. Die Kadenz klingt besonders schön und echt bezaubernd. Der ebenso geniale Dirigent leitet das perfekt trainierte Orchester im detaillierten Tempo und mit angenehmer Dynamik. Wahrlich hörenswert!
Thank you for this wonderful late romantic (1948!) cello concert. Weinberg has also composed marvelous string quartets, he is a very great composer.
Wonderful ❤
Thanks for sharing. One of the best composer the world have seen!
Such a beautiful and interesting composition/composer. Fascinating really!
Endless seem the treasures to be found on 'Bartje Bartmans'. Thank you so very much!
Fantastic! Thank you for posting.
Weinberg, protected by Chostakovitch, is an excellent Soviet composer (born as a Jew Polish). He is a very interesting prolific composer, a sort of les pessimistic counterpart of Chostakovitch's materworks.. In my opinion, this concerto ranks among his "bet" works, together with the Fantasia op. 52 for the same scoring
What a feeling to finish this piece with the backdrop you edited in
Que harmonia incrível!
Hey Bartje - have just followed score right through - what a delight to read/listen -and that C ending!
Thank you.
Lovely
Я нашел этот концерт только что из видео с интервью ещенепознеру солиста Шортпарис. А помогала мне самая прекрасная девушка Вика
Как красиво звучит!👍
Великолепная музыка
Truly underrated
Must be a polish cello as well. So sweet.
I love this piece, have done since my teens. Truly gorgeous from start to finish. The Rostropovich live recording is even more beautiful than this one.
Does anybody know the year of this recording?
Also, I would like to know where did you collect the material in order to write the descirption to this vodeo, any publication in particular? Thank you
WHY ON EARTH is this this in 6/4 when it’s clearly 3/2? it hurts.
Thanks for the upload! Any chance of uploading his flute concerto?
Would like to, but I don't have the score.
@@bartjebartmans I have a piano score of the 1st one.
@@bartjebartmans Ок, this night :)
Done :)
Awesome! It is amazing how this becomes a group effort. Not just me doing this all alone, which is def. NOT the case.
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