Mieczysław Weinberg (1919-1996)
1-24. 24 Preludes for Violoncello Solo, Op. 100
Arranged for Violin By – Gidon Kremer
segunda-feira, 6 de outubro de 2025
MIECZYSLAW WEINBERG : 24 Preludes for Violoncello Solo, Op. 100 (Gidon Kremer) (2019) Two Version | FLAC (image+.tracks+.cue), lossless
The Polish Jewish-born Mieczyslaw Weinberg made his way to Moscow
during World War II and was lucky enough to have his music championed by
Shostakovich during one of the latter's government-approved periods.
His music sounds a bit like that of Shostakovich (sample, perhaps, the
beginning of the 21st prelude here), but he generally has his own voice.
Weinberg wrote these preludes for cello (for Mstislav Rostropovich, who
never performed them), and they have occasionally been recorded in that
form; the violin transcription here by Latvian star Gidon Kremer
squeezes the original work's broad range but also adds a level of
virtuosity on the high notes that wasn't there originally. The 24
preludes do not form a set in all the major and minor keys as do those
of Bach or Chopin, and they're perhaps more etudes than preludes, each
of them exploring a little technique or motif. Combined with Kremer's
brilliance, this creates a slightly mysterious effect, as if you are
hearing an impassioned speech in an unfamiliar language. They are
entirely unlike the Shostakovich preludes for piano, and there is
nothing of the neo-classic about them although they are tonally
organized. Although the pieces are quite short, they have a personal
quality. The Accentus label, going full ECM with its
black-and-white-photo-on-gray graphics, does a wonderful job sonically
at the Paliesiaus Dvaras, apparently a small hotel, in Lithuania; the
violin has an almost tactile quality. A nice find for those who know
Weinberg only through his symphonies, or not at all. James Manheim
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