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Weinberg: Symphonies Nos. 1 & 7 Hybrid SACD - DSD

4.4 out of 5 stars 5 customer reviews

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Frequently Bought Together

  • Weinberg: Symphonies Nos. 1 & 7
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  • Weinberg: Symphony No. 3 / Suite No. 4: From the Golden Key
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  • Cello Concert & Symphony No. 20: 4
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Editorial Reviews

Product Description

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). 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.

Review

You have to be kind of a classical nerd to know about Weinberg, but he's worth seeking out. Although overshadowed by his contemporaries -- the biggest names in Soviet music, like Shostakovich, Prokofiev and Khachaturian -- Weinberg wrote some original and arresting music. In the fascinating Symphony No. 7 for strings and harpsichord, Weinberg tips his hat to the old baroque concerto grosso, while indulging his own introspective style. This finale is the heart and soul of the symphony, with odd contributions from the harpsichord, outbursts of demonic urgency and a few relaxed grooves. --npr.com, Tom Huizenga, June 2010
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15:15
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9:10
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7:39
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7
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4:28
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8
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2:33
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Product Details

  • Orchestra: Gothenburg Symphony Orchestra, The National Orchestra of Sweden
  • Conductor: Thord Svedlund
  • Composer: Mieczyslaw Weinberg
  • Audio CD (May 25, 2010)
  • Number of Discs: 1
  • Format: Hybrid SACD - DSD
  • Label: Chandos
  • ASIN: B003EN2S1Y
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Best Sellers Rank: #182,375 in Music (See Top 100 in Music)

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Top Customer Reviews

By J. R. Trtek on May 4, 2013
Format: Audio CD
I agree with most of the comments made by the reviewer of 08/05/10, and I find these two symphonies to be certainly more than just okay, each with a decidedly Shostakovich-like feel -- which to me is a plus. However, I've also heard the other Weinberg symphonic disc released so far by these same forces, which contains the No. 3, and I confess that I prefer that work over these two. Though the pair on this disc are engaging and interesting, to me there is still a bit of sameness from start to finish about them -- more in the case of No. 7 than No. 1. Again, I do recommend this disc, but also think that the other album, which contains the Suite No. 4 from the ballet The Golden Key is a shade or two better and more nicely varied in mood.
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No problem ordering, Thank you,
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This item arrived in good order and I have no complaints. Thanks for the service and I look forward to making additional orders when I can afford to do so.
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I consider Mieczyslaw Weinberg to be the one of the four great Russian composers of the 20th century (after Stravinsky, Shostakovich and Prokofiev). He has been unjustly neglected, his work either not getting performed or, when recorded onto CD, often not done by first rate musicians. That has now begun to change.
This CD is outstanding. For the content as well as for the performances. For those getting into Weinberg, both symphonies are a wonderful introduction. They show Weinberg's inventiveness and style quite clearly. There is much to enjoy.
Symphony No 1 in G minor, opus 10 was composed in1942 while he was still studying composition in Minsk, and to where he had moved from Warsaw in 1939. Symphony No 7 in C major for Harpsichord and String Orchestra, opus 81, dates from 1964.

Thord Svedlund, who here conducts the excellent Gothenburg Symphony Orchestra, has a solid understanding of Weinberg's music. He already has a number of Weinberg recordings in the catalog and this coupling with the GSO shows his knowledge of the music and his skill in performing this to best effect.
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Format: Audio CD
Mieczyslaw Weinberg fled his native Warsaw after the Nazi blitz of 1939 and made his way to Minsk. The Weinbergs were Jews and his sister and parents didn't get out, so they were killed at the Trawniki concentration camp. In Minsk Weinberg studied composition with Rimsky-Korsakov acolyte Vasily Zolotaryov, Weinberg studied well (thankfully rejecting Rimsky's vulgarity), and also came under the spell of Shostakovich's epochal Fifth Symphony. The foundations were now in place for his First Symphony. The Nazis rumbled into Russia in 1942 and Weinberg had to flee by train via Moscow to Tashkent (something of a center for displaced Russian artists) and lived to compose another day. While in Tashkent Weinberg was persuaded to send the score of his First Symphony to Shostakovich. The master endorsed the work and it paved the way for Weinberg to settle in Moscow for the rest of his life.

Dedicated to the Red Army, the First Symphony is electrifying. The opening movement is sweeping and grand, while the second movement Lento is more intimate. Echoes of Shostakovich ring out in the third movement scherzo, a study in quirky rhythmic energy. The finale has the same drive as the opening movement and builds to a powerful conclusion. Here's another in a string of great Soviet wartime symphonies.

The Seventh Symphony (1964) is one of Weinberg's chamber symphonies, a form that was popular in the Soviet Union of the 1960s. Scored for harpsichord and strings, the work unfolds in five seamless movements. The anguished string writing of the opening Adagio is all the more haunting when the harpsichord makes its furtive entrance, and the instrument assumes a continuo-like role in the agitated second movement.
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