Gidon Kremer Mieczyslaw Weinberg’s Sonatas For Violin Solo (ecm Ns)(2022)

Violinist Gidon Kremer and pianist Martha Argerich are two of the greatest living virtuosos on their instruments and, though they are wholly individualistic players, they get along extremely well together. German Romantic Robert Schumann and Hungarian modernist Béla Bartók don't have much in common at first blush: one is dreamy and poetic, the other brutal and cerebral.

The music of Mieczys?aw Weinberg continues to be issued, and continues to impress. Like his British counterpart, York Bowen, Weinberg was a composer trapped in time and place, and it is good that their very different musics are now coming to the fore with such regularity. One of the wonderful things about this disc, aside from the committed, intense playing of the instrumentalists, is the sound: crisp and clear, with only a very little reverb, which brings the sound of the instruments into sharp focus and makes the listener pay attention to the music.

Gidon Kremer … his tone colour changing in chameleon fashion to match mood and style. He is wispy and wiry in the spare, fugal opening, but as the music blossoms into Straussian warmth, he plays with a creamy, ripe sweetness that could grace an old Hollywood weepy. Yet there is always clarity in the playing, a feeling for the contours of the music and where they are leading. –Tim Homfray, The Strad, about Kremer s Bartók Violin Concerto

If Mieczysław Weinberg had lived for another decade or so after his death in 1996, he would have seen his status change from poorly known outlier to general acceptance as one of the major twentieth-century composers. His violin works have likewise been recognised as major additions to the repertoire. Since Yuri Kalnits and Michael Csányi-Wills began what will be a four-volume survey of Mieczysław Weinberg’s music for violin and piano, other musicians have discovered and recorded many of these masterworks, but on its completion this cycle will still be the first to record all of Weinberg’s violin works.

Like so many of his contemporaries Bartok underwent a period of artistic self-examination immediately after the First World War. The Violin Sonata No. 1 is the first result of that reappraisal and it has all the hallmarks of a style in transition—in other words, it is a jolly tough nut to crack, and it remains so even in a performance as consistently colorful and high-powered as Kremer and Argerich's.

Eagerly anticipated album by Georgia’s Giya Kancheli (“the most important composer to have emerged from the former Soviet Union since the death of Shostakovich.” – Time Magazine), released in the year of his 70th birthday. This disc features one of Kancheli’s most ardent champions, the great violinist Gidon Kremer., who plays in duo with his old comrade, Russian pianist Oleg Maisenberg on the 26 minute 'Time… and again”, and leads the Kremerata Baltica on “V & V” for violin, taped voice, and string orchestra.

One of the best-kept secrets of twentieth century Russian music is the work of Polish-born Soviet composer Moisey (Mieczyslaw) Weinberg, often spelled as Vainberg. Weinberg was born in a Warsaw ghetto to a family of itinerant Jewish theatrical performers. He made his debut as pianist at the age of ten, and by age 12 was studying at the Warsaw Conservatory. With the outbreak of war in 1939, Weinberg fled to Minsk, enrolling in the conservatory and studying with Vasily Zolotaryov. In 1943 Weinberg sent the score of his first symphony to Dmitry Shostakovich, who was impressed and arranged for Weinberg to be invited to Moscow under official approval. This was the beginning of their long friendship and of Weinberg's career as a Soviet composer.
Weinberg was the only member of his immediate family to survive the Nazi Holocaust. His father-in-law was executed as ……..

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