Gidon Kremer, Madara Pētersone, Gewandhausorchester Leipzig & Daniele Gatti - Weinberg: Violin Concerto, Op. 67 & Sonata for 2 Violins, Op. 69 (Live) (2021) [Hi-Res]
![Gidon Kremer, Madara Pētersone, Gewandhausorchester Leipzig & Daniele Gatti - Weinberg: Violin Concerto, Op. 67 & Sonata for 2 Violins, Op. 69 (Live) (2021) [Hi-Res]](https://www.dibpic.com/uploads/posts/2021-01/1610603595_gidon-kremer-madara-ptersone-weinberg-violin-concerto-op_-67-sonata-for-2-violins-op_-69-live-2021.jpg)
BAND/ARTIST: Gidon Kremer, Madara Pētersone, Gewandhausorchester Leipzig, Daniele Gatti
- Title: Weinberg: Violin Concerto, Op. 67 & Sonata for 2 Violins, Op. 69 (Live)
- Year Of Release: 2021
- Label: Accentus Music
- Genre: Classical
- Quality: flac lossless / flac 24bits - 48.0kHz +Booklet
- Total Time: 00:51:01
- Total Size: 237 / 511 mb
- WebSite: Album Preview
Tracklist
01. Violin Concerto in G Minor, Op. 67: I. Allegro molto (Live)
02. Violin Concerto in G Minor, Op. 67: II. Allegretto (Live)
03. Violin Concerto in G Minor, Op. 67: III. Andante (Live)
04. Violin Concerto in G Minor, Op. 67: IV. Allegro risoluto (Live)
05. Sonata for 2 Violins, Op. 69: I. Allegro molto
06. Sonata for 2 Violins, Op. 69: II. Adagio
07. Sonata for 2 Violins, Op. 69: III. Allegro
![Gidon Kremer, Madara Pētersone, Gewandhausorchester Leipzig & Daniele Gatti - Weinberg: Violin Concerto, Op. 67 & Sonata for 2 Violins, Op. 69 (Live) (2021) [Hi-Res]](https://www.dibpic.com/uploads/posts/2021-01/1610603525_gidon-kremer-madara-ptersone-weinberg-violin-concerto-op_-67-sonata-for-2-violins-op_-69-live-2021-back.jpg)
While Mieczyslaw Weinberg's instrument was the piano, he wrote extensively and wonderfully for the violin, which makes sense both on artistic and personal levels – the violin was both the perfect vehicle for the elegiac, Jewish folk-inspired melodies that flowed from his pen, and also the instrument played by his father, who along with Weinberg's mother and sister perished in a Polish concentration camp during the Second World War (Weinberg was spared that fate, having fled to the Soviet Union upon the outbreak of war). What's more, it's arguably Weinberg's love for the violin we now have to thank for his music's recent rediscovery, given that this has been spearheaded by violinist and Kremerata Baltica director Kidon Kremer. So on to Kremer's latest Weinberg-shaped offering, and while the symphonic-proportioned, four-movement Violin Concerto of 1959 is actually a rare Weinberg work which isn't too badly underrepresented in the recording studio – its dedicatee Leonid Kogan recorded it in 1961 with Kirill Kondrashin and the Moscow Philharmonic Orchestra, and there's a handful of more recent efforts too – the fact that this one is from Kremer should make us sit up and take note.
The concerto recording is a live one, made in February 2020 with the Gewandhausorchester Leipzig under the baton of Daniele Gatti as part of a series of Leipzig Gewandhaus concerts in honour of Weinberg's birth centenary. Those who know the Kogan reading may initially be surprised at the much steadier speed taken by Kremer and Gatti for the opening Allegro molto, because it's a different world to Kogan and Kondrashin's supercharged gallop. However these readings aren't short on drama – angry orchestra fortissimos are suitably shattering, and Gatti also achieves tense, floating magic in the moments when suddenly Weinberg makes time stand momentarily still. Kremer himself meanwhile is as sweet-toned and lyrical as ever, his violin holding its singing quality through the spikiest of moments, and coming across most arrestingly of all in the keening laments, meaning the slow third movement is every bit as strong as you'd hope.
Paired with the Concerto is another 1959 violin work of Weinberg's, the Sonata for Two Violins, for which Kremer has been joined by Kremerata Baltica concertmaster Madara Pētersone, and their combined folk flair, range of colours and technical finesse make this perhaps an even more compelling listen than the Concerto – although please read that as praise for the Sonata rather than as criticism of what Kremer and Gatti have given us!
01. Violin Concerto in G Minor, Op. 67: I. Allegro molto (Live)
02. Violin Concerto in G Minor, Op. 67: II. Allegretto (Live)
03. Violin Concerto in G Minor, Op. 67: III. Andante (Live)
04. Violin Concerto in G Minor, Op. 67: IV. Allegro risoluto (Live)
05. Sonata for 2 Violins, Op. 69: I. Allegro molto
06. Sonata for 2 Violins, Op. 69: II. Adagio
07. Sonata for 2 Violins, Op. 69: III. Allegro
While Mieczyslaw Weinberg's instrument was the piano, he wrote extensively and wonderfully for the violin, which makes sense both on artistic and personal levels – the violin was both the perfect vehicle for the elegiac, Jewish folk-inspired melodies that flowed from his pen, and also the instrument played by his father, who along with Weinberg's mother and sister perished in a Polish concentration camp during the Second World War (Weinberg was spared that fate, having fled to the Soviet Union upon the outbreak of war). What's more, it's arguably Weinberg's love for the violin we now have to thank for his music's recent rediscovery, given that this has been spearheaded by violinist and Kremerata Baltica director Kidon Kremer. So on to Kremer's latest Weinberg-shaped offering, and while the symphonic-proportioned, four-movement Violin Concerto of 1959 is actually a rare Weinberg work which isn't too badly underrepresented in the recording studio – its dedicatee Leonid Kogan recorded it in 1961 with Kirill Kondrashin and the Moscow Philharmonic Orchestra, and there's a handful of more recent efforts too – the fact that this one is from Kremer should make us sit up and take note.
The concerto recording is a live one, made in February 2020 with the Gewandhausorchester Leipzig under the baton of Daniele Gatti as part of a series of Leipzig Gewandhaus concerts in honour of Weinberg's birth centenary. Those who know the Kogan reading may initially be surprised at the much steadier speed taken by Kremer and Gatti for the opening Allegro molto, because it's a different world to Kogan and Kondrashin's supercharged gallop. However these readings aren't short on drama – angry orchestra fortissimos are suitably shattering, and Gatti also achieves tense, floating magic in the moments when suddenly Weinberg makes time stand momentarily still. Kremer himself meanwhile is as sweet-toned and lyrical as ever, his violin holding its singing quality through the spikiest of moments, and coming across most arrestingly of all in the keening laments, meaning the slow third movement is every bit as strong as you'd hope.
Paired with the Concerto is another 1959 violin work of Weinberg's, the Sonata for Two Violins, for which Kremer has been joined by Kremerata Baltica concertmaster Madara Pētersone, and their combined folk flair, range of colours and technical finesse make this perhaps an even more compelling listen than the Concerto – although please read that as praise for the Sonata rather than as criticism of what Kremer and Gatti have given us!
Year 2021 | Classical | FLAC / APE | HD & Vinyl
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