For the western world Moisei Vainberg, or (likewise in Russian) Mieczyslaw Weinberg was for long a well-kept secret of the Soviet Union. He was born in Warsaw, where his father worked for a Jewish theatre as composer and musical director. In 1939, with German troops at his heels, Weinberg fled to the Soviet Union, where he studied composition at the conservatory of Minsk with Vassily Zolotaryov, a pupil of Rimsky-Korsakov. Two years later, pursued once again by war, he settled in Tashkent in Uzbekistan. It was from here that Weinberg sent his First Symphony to Shostakovich, who was so impressed that he arranged for him to come to live in Moscow in 1943. The two composers became good friends, frequently playing through scores on two pianos, inspiring one another, and performing their own music together for the obligatory inspections of the bond of composers. Shostakovich also assisted his seven year younger friend in finding work. All this in Moscow, where Weinberg was to remain for the rest of his life. In the meantime his family in Poland was murdered by the Nazis, and in 1948 his father-in-law, the celebrated Jewish actor Solomon Mikhoels, was eliminated on Stalin’s orders. In 1953 Weinberg himself was falsely accused and arrested. But Shostakovich, who considered his friend to be one of the best Russian composers, made a stand for him. In the end it was Stalin’s death that saved Weinberg’s life.
Tracklist
Please note that the below previews are loaded as 44.1 kHz / 16 bit.Total time: 01:11:05
Additional information
| Label | |
|---|---|
| SKU | 38116 |
| Qualities | |
| Channels | |
| Artists | |
| Composers | |
| Genres | |
| Cables | van den Hul |
| Digital Converters | Grimm DSD AD |
| Mastering Engineer | Jared Sacks |
| Mastering Equipment | B&W 803 diamond series |
| Microphones | Bruel & Kjaer, Schoeps |
| Mixing Board | Rens Heijnis custom made |
| Awards | |
| Conductors | |
| Instruments | |
| Original Recording Format | |
| Producer | Jared Sacks |
| Recording Engineer | Jared Sacks |
| Recording location | Jesus Christus Kirche Berlin, Germany |
| Recording Software | Merging |
| Recording Type & Bit Rate | DSD64 |
| Release Date | April 8, 2016 |
Press reviews
BBC Music Magazine 4/5 stars
(…) the Weinberg is wonderfully played by Nicolas Altstaedt, who brings tone both muscular and softgrained to illuminate the work’s contrasting facets. (…)
hifiplus
(…) excellent musicianship and outstanding recording quality. (…) the musicianship is first rate (…) Jared Sacks recording and production techniques are outstanding. (…)
Resmusica – La Clef Resmusica
(…) violoncelliste franco-allemand Nicolas Altstaedt nous livre des versions altières et essentielles du Concerto n° 1 de Chostakovitch et du Concerto de Mieczyslaw Weinberg : un disque à marquer d’une pierre blanche. (…) Confirmation d’un emmense talent.
Classics Today
These are excellent performances all around–dashingly played in the allegros. Touching and sensitive in the lyrical movements, and effortlessly virtuosic.
The engineering (…) is up to the high standards of the Channel Classics house.
Audio Klassik
(…) leichter, federnder als der Altmeister Mstislav Rostropowitsch (…) Dieses Pracht-Stück [Weinberg] muss man gehört haben – und diese sehr sinnliche Darstellung eignet sich bestens zum Kennenlernen. (…)
The Guardian
(…) On this disc the two composers’ cello concertos make an impressive vehicle for rising cellist Nicolas Altsteadt. (…)
Spiegel Online
(…) Kein Kampf zwischen Ensemble und Solist, sondern ein wirkliches Miteinander, ein Verweben der Klangebenen zu einem einzigen, dichten Sound, bei dem dennoch der Solopart klare Kontur zeigt. (…)
MusicWeb
(…) With a distinctly spontaneous feel the soloist gives an oustanding performance, powerfully expressive. (…) deep concentration and exemplary musicianship. (…) firts-rate sound being clear and especially well balanced.
HR- Online CD Tipp
(…) eindringlich und klangschön (…)
BR-Klassik – CD des Monats
Nicolas Altstaedt spielt mit einem unvoreingenommenen Ton, als würde er gerade jede Note einzeln erkunden wollen. Zärtlich, aber trotzdem artikuliert spricht er diese neu entdeckte Sprache, wenn er mit dem Orchester in Konversation tritt. Die Neuartigkeit zeugt aber nicht von Unreife, sondern gleicht einem Befreiungsschlag, mit dem man der Musik näher kommt als je zuvor.
Gramophone
Nicolas Altsaedt has taken the piece (Weinberg) to his heart (…) even finds some shades of echt Weinbergian wishfulness (…) In the Shostakovich Concerto, too, there are many pages here Altstaedt needs fear no comparison, in a market full of first rate accounts. (…) Recording quality is excellent. (…)
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