{"id":3018,"date":"2011-07-20T14:35:52","date_gmt":"2011-07-20T14:35:52","guid":{"rendered":"https:\/\/neos-music.com\/?post_type=product&p=3018"},"modified":"2022-11-19T14:37:12","modified_gmt":"2022-11-19T14:37:12","slug":"mieczys%c2%b3aw-weinberg-sonata-for-violoncello-and-piano-no-2-piano-quintet-weinberg-edition-vol-4","status":"publish","type":"product","link":"https:\/\/neos-music.com\/en_us\/product\/mieczys%c2%b3aw-weinberg-sonata-for-violoncello-and-piano-no-2-piano-quintet-weinberg-edition-vol-4\/","title":{"rendered":"Mieczys\u00b3aw Weinberg: Sonata for Violoncello and Piano No. 2 \/ Piano Quintet – Weinberg Edition Vol. 4"},"content":{"rendered":"

Infotext:<\/p>\n\n\n\n
\n
\n

Bei der Weinberg-Retrospektive der Bregenzer Festspiele 2010 stand die szenische Urauff\u00fchrung seiner Oper \u00bbDie Passagierin\u00ab im Mittelpunkt, doch die Auff\u00fchrung von \u00fcber zwanzig weiteren Werken schuf einen Einblick in den unglaublichen Reichtum des \u0152uvres dieses vergessenen Komponisten. Weinberg f\u00fchlte sich zum Komponieren gezwungen, um damit sein \u00dcberleben vom Holocaust, als Einziger seiner Familie, zu rechtfertigen. Die dadurch entstandenen gro\u00dfartigen symphonischen und kammermusikalischen Werke sind voller Melancholie und Trotz. Wir danken NEOS daf\u00fcr, dass nun auch Andere an der Wiederentdeckung dieses inspirierten und wichtigen Komponisten teilhaben k\u00f6nnen.<\/i><\/p>\n

David Pountney<\/i><\/p>\n

Sonate f\u00fcr Cello und Klavier Nr. 2<\/b>\u00a0op. 63 (1959)<\/p>\n

Der ber\u00fchmte Cellist Mstislaw Rostropowitsch lernte Weinberg \u00fcber Schostakowitsch kennen, der 1959 sein erstes Cellokonzert f\u00fcr den gefragten Interpreten schrieb. Weinbergs zeitgleich entstandene zweite Cellosonate mag eine Antwort darauf sein. Andererseits betonte der Komponist immer wieder seine k\u00fcnstlerische Unabh\u00e4ngigkeit von Schostakowitsch. Zwischen den beiden Pers\u00f6nlichkeiten entstand vielmehr ein fruchtbarer Dialog.<\/p>\n

Man zeigte sich neue Werke zur Begutachtung, inspirierte sich wechselseitig. Nicht zuletzt hat sich Schostakowitsch \u2013 auch in politisch schwierigen Zeiten \u2013 f\u00fcr den j\u00fcngeren Weinberg eingesetzt. Bemerkenswert ist, dass sich das Hauptthema aus Schostakowitschs Cellokonzert im Finale von Weinbergs zweiter Cellosonate findet. Enger kann man eine Freundschaft nicht ausdr\u00fccken.<\/p>\n

Die perkussive Nutzung des Klaviers im Finale erinnert etwas an die Zusammenf\u00fchrung von Folklore und moderner Harmonik in Bart\u00f3ks Allegro barbaro (1911). Der Satz unterstreicht noch einmal die gro\u00dfen pianistischen F\u00e4higkeiten Weinbergs, von dessen K\u00fcnsten am Klavier auch Rostropowitsch begeistert war: Bei einem Liederabend von dessen Frau Galina Wischnewskaja war Weinberg kurzfristig f\u00fcr den erkrankten Swjatoslaw Richter eingesprungen und hatte das anspruchsvolle Programm mit Bravour bew\u00e4ltigt.<\/p>\n

Die beiden ersten S\u00e4tze aus Weinbergs Cellosonate geben sich lyrisch und bringen den kantablen Charakter des Violoncellos wundervoll zur Geltung. Die weit geschwungene Melodie im Moderato betont sch\u00f6n die tiefe Lage des Streichinstruments. Volksmusik und expressiver Atem flie\u00dfen ineinander.<\/p>\n

Grandios entwickelt Weinberg den langen Steigerungsbogen, der nach etwa f\u00fcnf Minuten kulminiert und dann von einem kurzen Abgesang beantwortet wird. Der mittlere Satz hebt wie ein zartes Wiegenlied an, Weinberg l\u00e4sst das Cello zun\u00e4chst sordiniert fl\u00fcstern, sp\u00e4ter einf\u00fchlsam zupfen. Melodief\u00fchrung und Begleitung wechseln nahtlos zwischen den Partnern.<\/p>\n

Als Ankn\u00fcpfungspunkt f\u00fcr Weinbergs zweite Cellosonate wurde oft Schostakowitschs Cellosonate in d-Moll op. 40 genannt. Sicher gibt es die eine oder andere Verwandtschaft, doch auch viele Unterschiede. Das betrifft nicht nur die Satzanzahl (bei Schostakowitsch vier, bei Weinberg drei S\u00e4tze), sondern vor allem die bei Weinberg knappere Struktur und den stets sehr durchsichtigen Klaviersatz. Er selbst betonte, dass die Freundschaft mit Schostakowitsch eher \u00bbunbewusst\u00ab seine \u00bbkompositorische Kreativit\u00e4t befl\u00fcgelt hat\u00ab.<\/p>\n

Klavierquintett<\/b>\u00a0op. 18 (1944)<\/p>\n

Zu einer der bemerkenswertesten Kompositionen aus der Zeit des Zweiten Weltkriegs geh\u00f6rt das Klavierquintett op. 18. Es wurde von Emil Gilels und Streichern des Bolschoi Theaters am 18. M\u00e4rz 1945 in Moskau uraufgef\u00fchrt. Au\u00dferdem gibt es eine Anfang der 1960er Jahre erstellte Aufnahme mit Weinberg am Klavier und dem Borodin Quartett. Der extrovertierte Charakter einiger Passagen mag auf die bewegende Zeit deuten, in der das Werk entstand.<\/p>\n

Der Komponist war 1939 vor der deutschen Wehrmacht aus seiner Heimat Polen gefl\u00fcchtet. Er wohnte zun\u00e4chst im wei\u00dfrussischen Minsk, dann im usbekischen Taschkent. Sicher beeindruckten den jungen Mann die kulturellen Einfl\u00fcsse dieser St\u00e4dte, in denen Weinberg viele emigrierte K\u00fcnstler und Musiker traf. Im Sp\u00e4tsommer 1943 siedelte Weinberg mit seiner jungen Frau Natalja nach Moskau \u00fcber \u2013 auf Einladung Schostakowitschs, der ihn f\u00f6rderte.<\/p>\n

\u00c4hnlich wie Schostakowitschs ber\u00fchmtes Pendant ist auch Weinbergs Klavierquintett f\u00fcnfs\u00e4tzig. Es hat zwei Scherzi, die zusammen mit dem furiosen Finale den dynamischen, motorischen Atem des St\u00fccks ausmachen. Ausdrucksges\u00e4ttigt und von einem schwerm\u00fctigen Ton gepr\u00e4gt sind hingegen der langsame Satz und das einleitende Moderato. Bisweilen glaubt man eine Gedenkmusik zu h\u00f6ren. Sicher dachte Weinberg oft an seine verlassenen Eltern und seine Schwester, die in Warschau den Tod fanden.<\/p>\n

Diese stark subjektiven, erlebten Aspekte des Klavierquintetts werden jedoch in eine \u00fcberlegende Form und Ausarbeitung eingebunden. Das 1944 vollendete Werk ist sehr durchdacht aufgebaut. So ziehen sich die einleitenden Themen wie ein roter Faden durch das f\u00fcnfs\u00e4tzige Werk. Filigrane Kontrapunktik und erlesene Klanglichkeit offenbaren das Genie des jungen Weinberg, der sich hier \u00e4u\u00dferst selbstbewusst der musikalischen Welt pr\u00e4sentiert.<\/p>\n

Die variable Behandlung der Streichinstrumente und ihre bisweilen neuartige Verbindung mit dem anspruchsvollen Klavierpart offenbaren eine neue kammermusikalische Qualit\u00e4t. Das erkannte bereits der russische Komponist Yuri Levitan in seiner Rezension der Notenausgabe und lobte besonders das \u00bbaufw\u00fchlend lyrische und tiefgr\u00fcndig meditative Adagio\u00ab.<\/p>\n

Matthias Corvin<\/p>\n<\/div>\n<\/td>\n

<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Programm:<\/p>\n

Sonata for Violoncello and Piano No. 2<\/b>\u00a0op.\u200963 (1959) 20:21<\/p>\n

[01]\u00a0Moderato<\/b>\u00a006:05
\n[02]\u00a0Andante<\/b>\u00a007:17
\n[03]\u00a0Allegro<\/b>\u00a006:59<\/p>\n

Christoph Stradner, violoncello
\nLuca Monti, piano<\/p>\n

Piano Quintet<\/b>\u00a0op.\u200918 (1944) 46:43<\/p>\n

[04]\u00a0Moderato con mot<\/b>o 08:58
\n[05]\u00a0Allegretto<\/b>\u00a007:04
\n[06]\u00a0Presto<\/b>\u00a005:56
\n[07]\u00a0Largo<\/b>\u00a016:01
\n[08]\u00a0Allegretto agitato<\/b>\u00a008:44<\/p>\n

EOS-Quartett Wien
\n[Willy B\u00fcchler, violin \u00b7 Christian Blasl, violin \u00b7 Roman Bernhart, viola \u00b7 Andreas Pokorny, violoncello]
\nDoris Adam, piano<\/p>\n

total time: 67:06<\/p>\n

Live Recordings<\/i><\/p>\n

Pressestimmen:<\/p>\n


\n20.03.2012<\/p>\n

This is the fourth volume in NEOS’s ‚Weinberg Retrospective‘, recorded at the Bregenz Festival in 2010 (see below for reviews of other releases in this series). The centrepiece of the festival was the premiere staging of Weinberg’s opera and magnum opus Die Passagierin (‚The Passenger‘) – see review of the DVD recording of Die Passagierin here.<\/p>\n

The absurdity of Weinberg’s neglect in Western Europe – something which growing discographies on Chandos, CPO, Naxos, Toccata and NEOS are only just beginning to correct, at least as far as domestic listening is concerned – is underlined by his Piano Quintet, surely as brilliant and memorable a work as any written in the genre. A recording of the Quintet appeared recently on Nimbus (review), and within the last decade, both on RCA Red Seal (review) and in a reissue of possibly the most authoritative account, given that Weinberg himself was pianist, on Melodiya (review). No one listening to the Quintet can be surprised at its wartime provenance, yet there are many pages of presumably ironic light-heartedness and military eupepsia to balance the returning air of gloom and introspection. It is virtually impossible not to be reminded of Shostakovich by Weinberg’s music, but that influence is something Weinberg freely and proudly admitted, with Shostakovich’s close friendship tending „unconsciously [to] inspire [my] compositional activity.“ Yet Weinberg’s voice is as unique as that of Shostakovich.<\/p>\n

The Cello Sonata is more melody-led, and a little more optimistic, perhaps reflecting the Khrushchev Thaw that had taken place after Stalin’s death – something that led to Weinberg’s release from prison, where he was being held on charges of „Jewish bourgeois nationalism“, and which may even have saved his life.<\/p>\n

Most of the performers here also appear on volume 5, and in both places are uniformly impressive, matching technique with expressiveness. Sound recording is very good indeed: coughing and rustling have been kept to a minimum, either by very thoughtfully positioned microphones or benign audiences. Applause has been skilfully edited out, the audience again being very helpful in not having cut into the short silence which rightly belongs at the end of all works of art music. There is one minor technical blemish, at least on the review disc: about ten-and-a-half minutes through the fourth movement of the Quintet, a minor blip that resembles an editing join.<\/p>\n

Housed in an attractively designed digipak case, the CD booklet is thick. That said, having everything in four languages means that there is much less information than there appears to be at first sight. Two sides of biographies match Matthias Corvin’s notes on the works. These are all, nevertheless, well written and well translated into English.<\/p>\n

Byzantion<\/i><\/p>\n

http:\/\/www.musicweb-international.com\/classrev\/2012\/Mar12\/Weinberg_v4_11128.htm<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Infotext: Bei der Weinberg-Retrospektive der Bregenzer Festspiele 2010 stand die szenische Urauff\u00fchrung seiner Oper \u00bbDie Passagierin\u00ab im Mittelpunkt, doch die Auff\u00fchrung von \u00fcber zwanzig weiteren Werken schuf einen Einblick in den unglaublichen Reichtum des \u0152uvres dieses vergessenen Komponisten. Weinberg f\u00fchlte sich zum Komponieren gezwungen, um damit sein \u00dcberleben vom Holocaust, als Einziger seiner Familie, zu […]<\/p>\n","protected":false},"featured_media":3019,"template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}}},"product_brand":[],"product_cat":[26],"product_tag":[],"class_list":{"0":"post-3018","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-zeitgenossische-musik","7":"pa_artikelnummer-neos-11128","8":"pa_brand-neos-music","9":"pa_ean-565","10":"desktop-align-left","11":"tablet-align-left","12":"mobile-align-left","14":"first","15":"instock","16":"taxable","17":"shipping-taxable","18":"purchasable","19":"product-type-simple"},"yoast_head":"\nMieczys\u00b3aw Weinberg: Sonata for Violoncello and Piano No. 2 \/ Piano Quintet - Weinberg Edition Vol. 4 - NEOS Music<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/neos-music.com\/en_us\/product\/mieczys\u00b3aw-weinberg-sonata-for-violoncello-and-piano-no-2-piano-quintet-weinberg-edition-vol-4\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Mieczys\u00b3aw Weinberg: Sonata for Violoncello and Piano No. 2 \/ Piano Quintet - Weinberg Edition Vol. 4 - NEOS Music\" \/>\n<meta property=\"og:description\" content=\"Infotext: Bei der Weinberg-Retrospektive der Bregenzer Festspiele 2010 stand die szenische Urauff\u00fchrung seiner Oper \u00bbDie Passagierin\u00ab im Mittelpunkt, doch die Auff\u00fchrung von \u00fcber zwanzig weiteren Werken schuf einen Einblick in den unglaublichen Reichtum des \u0152uvres dieses vergessenen Komponisten. 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