Dawn, Op. 60 - Symphonic Poem for Large Orchestra (Premiere Recording)
Symphony No. 12, Op. 114 "In memoriam Dmitri Shostakovich"

Over the last 20 years or so, the Chandos label, one of Britain's leading independent classical music labels, has been at the forefront in the pursuit to disseminate the music of Mieczyslav Weinberg (1919-1996) to a broader audience, through the release of many excellent recordings. Over that time their focus has been on Weinberg's considerable orchestral and symphonic material, whilst other labels like CPO for example, focused on the composer's extensive output of chamber music. Based on Chandos' track record, the good news is that this new recording featuring the BBC Philharmonic under the direction of John Storgårds is the first of a projected series of Weinberg Symphony recordings.

And straight away we're presented with a world premiere recording of Dawn, Op. 60, a symphonic poem for large orchestra which composed in 1957, only saw its first public performance over 60 years later in 2019, with the BBC Philharmonic and John Storgårds. According to the booklet notes, every five years the Soviet Union celebrated the anniversary of the October 1917 Revolution, and commissioned orchestral works for the occasion from leading artists of the day. In typical darkness to light ascent, it begins in a foreboding tone with the main disquieting motif rising from the cellos and double basses. Struggles ensue, punctuated by brass and percussion instruments, but Weinberg masterfully holds conflicting ideas together until the very end, where the mood shifts and everything erupts in a victorious declamation. Storgårds and the BBC Philharmonic players well convey its hard-fought trajectory.

It could be said that of Weinberg's 22 Symphonies, 4 Chamber Symphonies and 2 Sinfoniettas, that the Symphony No. 12, Op. 114 "In memoriam Dmitri Shostakovich" is his most personal musical statement. After all, completed in 1976, a year or so after the death of Dmitri Shostakovich, it's a poignant tribute to a dear friend and colleague. Its belligerent and desultory first movement comes across as a cry of anger at the immeasurable loss, and the BBC Phil musicians seem to relish its schizoid energy. But it's the Adagio third movement, deeply expressive in this account, that is the core of the whole symphony. This is the movement in which the ghost of Shostakovich seems to lurk behind every note. And with a highly typical Shostakovich gesture, the final movement ends in an utterly enigmatic fashion.

I for one can't wait to hear what else is in the works from Chandos and Storgårds. The music of Mieczyslav Weinberg deserves our collective attention.