MusicWeb International One of the most grown-up review sites around

  2022
 57,903 reviews
   and more ... and still writing ...

Search MusicWeb Here
Acte Prealable Polish CDs

Presto Music CD retailer
 
Founder: Len Mullenger                                    Editor in Chief:John Quinn             

Some items
to consider

 

paid for
advertisements

Acte Prealable Polish recordings

Forgotten Recordings
Forgotten Recordings
All Forgotten Records Reviews


TROUBADISC
Troubadisc Weinberg- TROCD01450

100th birthday of Mieczyslaw Weinberg on December 8, 2019.
Renate Eggbrecht has recorded all 3 violin Sonatas
All Troubadisc reviews


FOGHORN Classics

Alexandra-Quartet
Brahms String Quartets

All Foghorn Reviews


All HDTT reviews


Clarissa Bevilacqua plays
Augusta Read Thomas

all Nimbus reviews

Brahms Dvorak
Brahms 2 Dvorak 7
all tudor reviews

 

 


Follow us on Twitter

Subscribe to our free weekly review listing
sample

Sample: See what you will get

Editorial Board
MusicWeb International
Founding Editor
   
Rob Barnett
Editor in Chief
John Quinn
Contributing Editor
Ralph Moore
Webmaster
   David Barker
Postmaster
Jonathan Woolf
MusicWeb Founder
   Len Mullenger

 

Discs for review may be sent to:
Jonathan Woolf
76 Lushes Road
Loughton
Essex IG10 3QB
United Kingdom

jonathan_woolf@yahoo.co.uk


 


Support us financially by purchasing this from

Mieczyslaw WEINBERG (1919-1966)
24 Preludes for Violoncello Solo, Op.100 (1968, arr. Kremer for solo violin)
Gidon Kremer (violin)
rec. 2017, Paliesiaus Dvaras, Lithuania
ACCENTUS MUSIC ACC30476 [47:21]

Written for Mstislav Rostropovich, the 24 Preludes for cello were actually never performed by their esteemed dedicatee; although written in 1968, the first performance only came in 1995 in Tallinn, Estonia, by Yosif Feigelson, who has recorded the cycle for Naxos (there is also a performance by Emil Rovner available on the Divox label). It is a shame Rostropovich never played them, as Weinberg’s score specifically quotes from and refers to works that were associated with or written for Slava: Shostakovich’s First Cello Concerto, unmistakably in Prelude No.21, and his Cello Sonata, Boris Tchaikovsky’s Cello Concerto, the Schumann Cello Concerto. Folksong, too, turns up (“Kamarinskaya” in No. 8) as does folkish song (Jakov Feldman’s 1915 gypsy “Russische Romanze” Kutscher, Treib die Pferde nicht appears transformed into a sarabande in No. 18). Violinist Gidon Kremer, who also enjoys a huge reputation, sees them as a major cycle and transcribed them for violin, presumably to give them a wider audience. He states that he hopes “that these personal statements of one of the most wonderful composers of the twentieth century will inspire listeners to fall in love with his music.” Some of the pieces needed to be moved in tonality but Kremer’s intent is to remain as close as possible to the original.

There is a sense of historical continuity in this arrangement by this particular performer: Kremer’s teacher, David Oistrakh, was playing in the same concert in October 1953 in which Weinberg was arrested. While one may state that the cycle moves through the scale in ascending and then descending semitones (modelling Bach’s “Well-Tempered”), it is true the sense of key is often very much destabilised, often hidden. In fact, No.23 is based on a tone-row; Weinberg links the Preludes by making the last note of each Prelude the first note of the next.

It needs a player of Kremer’s stature to cope with the demands of No. 6, with its perilous spreads and leaps, while the tenebrous seventh, an ethereal shadow (perhaps a ghost of a memory) reveals just how much a sense of atmosphere Kremer can conjure up. Perhaps Weinberg’s achievement is to conjure up worlds in a matter of short minutes: No.11, sad and, in its textures, deliberately strange, invoking an unspecified other, lasts only 1:56. The ethereal No.14 is a particular highpoint, particularly given Kremer’s ease up in the violin’s stratosphere. He captures the outgoing rhythms of No.16 brilliantly, while the brightness of the disjunct gestures of No. 19, always perfectly in tune (those gestures separated by scurrying passagework simply brilliantly delivered by Kremer) results in one of the most viscerally exciting experiences of the set. It sits in high contrast to No.20, which begins like a funeral cortège. Kremer’s virtuosity is on full display in this cycle, but it is in the absolute resonance with Weinberg’s language with which Kremer's speaks that marks this out.

The presentation itself is astonishingly potent from the Soviet-era black-and-white car (and rain) photo on the front to the many illustrations inside. A full explanatory note from Kremer himself (excerpted above) plus detailed notes from Verena Mogl complete a most satisfying release. The editors have found an intriguing way of delineating paragraphs, incidentally: the first line has no indent but the final line is centred.

Ideally of course one should own both cello and violin versions, and the Naxos is something of a no-brainer given that Feigelson gave that 1985 premiere in Estonia; his playing is wonderful, too. Listen to his folkish evocations in No.22 (he gives that Prelude more space than does Kremer); his disc also includes the 14-minute Weinberg First Solo Cello Sonata.

Colin Clarke



Advertising on
Musicweb


Donate and keep us afloat

 

New Releases

Naxos Classical
All Naxos reviews

Chandos recordings
All Chandos reviews

Hyperion recordings
All Hyperion reviews

Foghorn recordings
All Foghorn reviews

Troubadisc recordings
All Troubadisc reviews


all cpo reviews

Divine Art recordings
Click to see New Releases
Get 10% off using code musicweb10
All Divine Art reviews


All APR reviews

Lyrita recordings
All Lyrita Reviews

 

Wyastone New Releases
Obtain 10% discount

Recordings of the Month

November 2022
Bach
Bach Orchestral Suites

del Cinque
Del Cinque Cello sonatas

Fujita Mozart
Mao Fujita Mozart

Stanczyk
Stanczyk Acousmatic Music

Oropesa

October 2022

Berg Violin Concerto
Violin Concerto Elmes

DEbussy Jeux
Debussy Jeux

Romantic pioano masters
Romantic Piano Masters

The future is female - Vol 2
Volume 2 - The Dance

impromptu harp music
Complete Harp Impromptus