Weinberg: String Quartets, Vol. 3

Chronique

Composer Mieczyslaw Weinberg proudly proclaimed himself a disciple of Shostakovich, who reciprocated by saving Weinberg from one of Stalin's purges. However, as listeners realize that Weinberg was more than just a Shostakovich clone, his works have been receiving more attention. This release, offering works from the early and late parts of Weinberg's career, is part of a complete cycle in progress from the Arcadia Quartet, and the performances thus far have been very strong. The Arcadia hones in nicely on the differences between Shostakovich and Weinberg. In the String Quartet No. 4, premiered in early 1945, it is the mood that is most Shostakovich-like, more so than the structure. The work has clear resonances of wartime experiences, and though a Soviet commentator quoted in the booklet likens the finale to recollections of a happy childhood, it is a happiness that dissolves, trying to reconstitute itself through resolute contrapuntal gestures but failing. The downbeat quality reminds one of Weinberg's mentor, but the methods of achieving it are different. The String Quartet No. 16, from 1981, is perhaps a less successful work, but it seeks to merge folk and modernist influences in a manner different from anything Shostakovich tried, and listeners' reactions may vary. The Arcadia Quartet captures the essentially Romantic nature of Weinberg's music, again different from the often acrid Shostakovich, in fine, long-breathed performances, and throughout, this is chamber playing at a very high level. Further releases in the Arcadia's series will be impatiently awaited by listeners who put this one on classical best-seller charts in the spring of 2023.

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