Weinberg Symphony 6 – Russian composer given his due
By Ralph Graves
Mieczyslaw Weinberg was a close personal friend as well as a colleague of Shostakovitch, and that relationship shows in his music. His Sixth Symphony opens in a manner that sounds (to my ears) very much like Shostakovitch. But while there are some stylistic similarities, there are also plenty of differences.
Weinberg was an imaginative orchestrator, particularly with his use of brass instruments. This programmatic work has a powerful message. The symphony begins with a celebration of the carefree days of youth and moves through the horrors of war (and the death of childhood) to a tentative hope for the future. Weinberg’s sparing use of a boys’ choir makes the message all the more effective.
The second work on the disc is a shorter Rhapsody on Moldavian Themes. The rich melodic content of this composition makes it instantly attractive. Weinberg sounds less like Shostakovitch here (perhaps it’s the choice of subject matter). The music flows along in a relentless fashion, with plenty of energy and high-spirited dance motifs that almost beg to be choreographed.
Vladimir Lande leads the St. Petersburg State Symphony Orchestra in the performance of these works. The playing is first-rate, which really helps further the cause of these relatively unknown compositions. If you aren’t familiar with Mieczyslaw Weinberg, this release is a good place to start.
Mieczyslaw Weinberg: Symphony No. 6; Rhapsody on Moldavian Themes
St. Petersburg State Symphony Orchestra; Vladimir Lande, conductor; Glinka Choral College Boys’ Choir
Naxos
