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String Quartets Nos. 4 & 16

Quatuor Danel , Weinberg Mieczyslaw Audio CD
5.0 out of 5 stars  See all reviews (1 customer review)
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Format:Audio CD
Mieczyslaw (Moishei) Weinberg (Vainberg) est né en 1919 à Varsovie. Fils d'un violoniste et compositeur travaillant pour un théâtre juif de la capitale polonaise, il étudia le piano au conservatoire avec Josef Turczynski. L' occupation allemande le força à fuir la Pologne en 1939, et il se réfugia en URSS. Il devait apprendre plus tard que ses parents et sa soeur Esther, restés qur place, avaient été victimes des nazis. Il vécut tout d'abord quelque temps à Minsk, où il étudia la composition avec Vassili Zolotarov (1872-1964), un élève de Balakirev et de Rimski-Korsakov. En 1941, il s'installa à Tachkent, et envoya le manuscrit de sa première symphonie à Dmitry Chostakovitch, qui réagit avec enthousiasme et l'invita à Moscou, où Weinberg résidera de 1943 jusqu'à sa mort, survenue en 1996.

Son style musical est très varié, et sous sa palette, nous pouvons aussi bien trouver des éléments de musique populaire (polonaise ou russe, mais aussi tirés du folklore juif ou moldave) que l'utilisation de techniques dodécaphoniques ou « minimalistes ».
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Amazon.com: 4.0 out of 5 stars  1 review
4.0 out of 5 stars Worthy Soviet Quartets May 11 2013
By J. R. Trtek - Published on Amazon.com
Format:Audio CD
A Polish composer who fled to the Soviet Union at the outbreak of World War II, Weinberg (known as Moisei Vainberg in the USSR) became good friends with Shostakovich but was largely ignored by the Russian musical establishment. When his father-in-law was implicated in the Doctor's Plot, Weinberg -- who was Jewish -- was arrested and perhaps saved largely by Shostakovich's intervention. In any case, the composer's reputation has blossomed in the years since his death in 1996, and this disc is part of a complete cycle of Weinberg's string quartets. The the pair on this release are clearly works of the 20th Century. Of the two, I find the No. 4 far more interesting. It's packed with angst which is expressed in several ways, from the insect-like second movement to the mysterious third one. The No. 16, on the other hand, struck me as more uniform -- and therefore perhaps just a tad monotonous -- in its approach. Quiet and conveying a sense of worried anticipation, it has its moments of agitation but still pales before the No. 4, to my untrained ear. In any case, if you like modern quartets, you might check out these two. Me, I'm heading off to another pair in the series....
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