Following her 2019 debut on the
Deutsche Grammophon
label, conductor
Mirga Grazinyte-Tyla
continues her cause to champion the music of composer
Mieczyslaw Weinberg
. The works presented here have all been recorded previously -- rarely in each case -- and these readings will certainly help to expand the knowledge of
Weinberg
's music. While much is made about
's association with
Shostakovich
, often detrimental to
's abilities as a composer, his music is not derivative of
, though they often share characteristics and an expressive nature in their writing. Written shortly after the end of World War II, the
Symphony No. 3 in B minor, Op. 45
displays the composer's range of emotional writing. Devastation was brought upon
's family by the Nazis, and listeners are taken on a journey of highs and lows, with sounds of despair and triumph and hope. The
Flute Concerto No. 1, Op. 75
, from 1961, is a wonderful work of mid-20th century writing and gets a good showing here from
Marie-Christine Zupancic
. This is a fairly advanced piece harmonically that should see an increase in popularity as
's music gains more traction; challenges throughout for the orchestra and soloist should make this attractive to university students.
Grazinyte-Tyla
leads her
City of Birmingham Symphony Orchestra
in the
Flute Concerto No. 1
and the
Symphony No. 3
, and the orchestra and its music director appear to be establishing a solid rapport. She leads the
Deutsche Kammerphilharmonie Bremen
Symphony No. 7 in C major, Op. 81
, written for harpsichord and string orchestra, with
Kirill Gerstein
on harpsichord. At times, it has the feel of a 20th century harpsichord concerto, but it is more often a creative timbre added to modern harmonic treatments.
is fairly deliberate with her tempos, which gives the listener a good chance to appreciate the depths of this music. It represents another welcome addition to the growing awareness of this composer. ~ Keith Finke