The pairing of works by mentor and mentee composers can make for a good concept on record. Shostakovich and Weinberg were just two such composers; they knew each other and exchanged artistic ideas for many years. On this recording, the comparison bears fruit through the pairing of piano trios and song cycles.
Shostakovich’s First Piano Trio, from 1923, is an early
work. Audibly more carefree than his later compositions, it is notable for
being written in a single movement. The Trio Vivente give it a convincing
reading, with the instrumental lines clearly articulated in a demonstration
quality recording. There is a greater contrast of emotions to be traversed
within Weinberg’s Piano Trio, written in 1945. The white-hot passions of the Prelude
and Toccata might be more immediately captured in the recordings led by Gidon
Kremer (DG) or Linus Roth (Evil Penguin), but Trio Vivente acquit themselves
with honour nonetheless. Nowhere is this more the case than in the Trio’s Aria
and Poem, which are played with sophistication.
Shostakovich sets the bar rather high with his powerful setting of Seven Romances on Verses by Alexander Blok, written in 1967. Although the instrumental accompaniment provides shades of gloominess, the vocal part is almost uniformly bombastic in nature. This, Kateryna Kasper provides in spades, whilst the Trio Vivente are attentive to the nuances inherent within the accompaniment. More vocal subtlety is evident in Weinberg’s earliest published work, the Jewish Songs, written in 1943. A collection of miniatures that is quirky yet forthright at times, they provide adroit insight to the texts set, bookended by vocalises.
If you are new to Weinberg’s music, this release could provide a way in to his absorbing sound-world, even though you might end your listening experience with the impression he wrote under Shostakovich’s shadow. For that reason alone, it is worth exploring Weinberg beyond the confines of a single recording: there are interesting things to be discovered.
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