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Weinberg - Complete Songs Volume One

Olga Kalugina (soprano), Svetlana Nilolayeva (mezzo soprano) & Dmitry Korostelyov (piano)

Weinberg - Complete Songs Volume One
The early Children's Songs (1943), which open this disc, are rooted in the Jewish folk idioms that Shostakovich was soon to explore. Olga Kalugina's bright, silvery soprano traces the cycle's...

Weinberg - Complete Songs Volume One

Olga Kalugina (soprano), Svetlana Nilolayeva (mezzo soprano) & Dmitry Korostelyov (piano)

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The early Children's Songs (1943), which open this disc, are rooted in the Jewish folk idioms that Shostakovich was soon to explore. Olga Kalugina's bright, silvery soprano traces the cycle's...

About

Mieczyslaw Weinberg (1919–96), the Polish-born composer who spent most of his life in the Soviet Union, was a close friend of Shostakovich, with whose musical language his own has much in common. Weinberg’s vast output includes 26 symphonies, seventeen string quartets and some 200 songs. The three song-cycles recorded here date from across Weinberg’s career. They demonstrate his extraordinary ability to create atmosphere, often from just a handful of notes, and encompass a wide range of emotion, from wartime suffering, through playfulness and protest, to maternal love.

Weinberg was born in Warsaw on 8 December 1919; his early musical experiences were as pianist and ensemble leader at a Jewish theatre where his father was composer and violinist.

From the age of twelve he took piano lessons with Jozef Turczinski at the Warsaw Conservatory; the outbreak of war thwarted his plans to study in the USA.

In 1939 Weinberg fled the Nazi occupation (in which his parents and sister Ester were murdered), in the first instance to Belorussia, then Minsk, where he attended the composition classes of Vasily Zolotaryov, a former student of Rimsky-Korsakov; with the Nazi invasion of the USSR in June 1941, he moved on to Tashkent in Uzbekistan.

At the invitation of Shostakovich, who had been impressed with the score of Weinberg’s First Symphony, he moved to Moscow, where he lived from 1943 until his death on 26 February 1996.

Like Shostakovich’s, Weinberg’s literary interests were wide-ranging, and he set poetry not only of Russian/Soviet and Polish but also of Hungarian, Spanish and Japanese origin, as well as by Schiller and Shakespeare. His favourite topics of childlike innocence and its violation, of night, nature and consolation, are well represented on this disc.

This first CD in the complete of Weinberg’s songs includes a booklet containing comprehensive notes and translations of all of the songs included.

It forms part of a widespread examination of Weinberg’s music on CD, with orchestral music appearing from Chandos and the string quartets from CPO.

Contents and tracklist

I. Introduction
Track length1:12
II. The Bread Roll
Track length0:49
III. Cradle Song
Track length2:40
IV. The Hunter
Track length1:37
V. On the Green Mountainside
Track length1:19
VI. Grief, "the Orphan's Letter"
Track length5:55
No. 1, Dedication
Track length2:28
No. 2, War burns indomitably
Track length1:28
No. 3, What for?
Track length2:28
No. 4, Much has fallen silent
Track length1:41
No. 5, The poor ignoramuses laughed
Track length2:20
No. 6, A Spring Evening
Track length2:06
No. 7, In the Twilight
Track length1:11
No. 8, Someone was sighing at the grave
Track length3:20
No. 9, A Voice
Track length1:45
No. 10, Memory
Track length3:09
No. 1, The child was left alone
Track length2:35
No. 2, And I am not alone
Track length1:50
No. 3, Little feet, little hands
Track length2:50
No. 4, Rocking the cradle
Track length1:54
No. 5, Night
Track length1:46
No. 6, A sorrowful mother
Track length1:19
No. 7, The dew
Track length2:08
No. 8, Meekness
Track length1:05
No. 9, Fear
Track length4:00
No. 10, A discovery
Track length2:01
No. 11, My song
Track length2:59

Awards and reviews

January 2009

The early Children's Songs (1943), which open this disc, are rooted in the Jewish folk idioms that Shostakovich was soon to explore. Olga Kalugina's bright, silvery soprano traces the cycle's trajectory from opening optimism to the inevitable sting; together with the pianist Dmitry Korostelyov she finds subtlety in the mature settings of Rocking the Child.
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