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.
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