With violinist as artist-in-residence, it was inevitable that music by would characteristic within the City Birmingham Symphony Orchestra’s present season. Kremer has tirelessly championed the works the Polish-born Soviet composer, and he was the presiding eminence at a weekend dedicated to Weinberg’s music, by which the spotlight was the primary British efficiency his final accomplished symphony, the 21st. The CBSO mixed forces with Kremer’s personal chamber orchestra for the premiere, which was performed by , who adopted it with the ultimate symphony by Weinberg’s shut pal and mentor , his 15th, sounding as elusive and enigmatic as ever on this finely sculpted efficiency.
Completed in 1991, 5 years earlier than his loss of life, Weinberg’s 21st Symphony is devoted to the victims the Warsaw ghetto, and carries the subtitle “Kaddish”. It shouldn’t be a setting the Jewish prayer for the lifeless, however a 55-minute, single-movement elegy in six sections, studded with quotations from Weinberg’s personal music and that different composers. Its language remembers the expressionist Shostakovich the 1930s. The huge opening Largo is threaded by way of with lamenting violin solos (performed right here by Kremer) derived from one Mahler’s Knaben Wunderhorn songs, and interrupted immediately by a piano quoting the opening melody Chopin’s G minor Ballade, which turns into an emblem the struggling the Polish nation.
As Gražinytė-Tyla’s beautifully ready efficiency so vividly demonstrated, it’s a work huge energy, by turns desolate, anguished and offended. The keening feelings solely discover comfort within the closing pages, when wordless treble and soprano voices (Freddie Jamison and Maria Makeeva right here) name to one another throughout the orchestra, bringing a contact humanity to a piece that remembers a world with none.