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Weinberg Requiem RLPO Sanderling

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Requiem

Saturday 21 November 2009 7:30 pm 

Liverpool Philharmonic Hall



Weinberg Requiem (World Premiere) 

Beethoven Symphony No.7





Asmik Grigorian soprano

Royal Liverpool Philharmonic Orchestra

Royal Liverpool Philharmonic  Choir 

Choristers of Liverpool Metropolitan Cathedral



Thomas Sanderling conductor 



RLPO Programme Notes Online

Saturday 21 November 7.30pm Philharmonic Hall

MIECZYS?AW WEINBERG (1919-96)

Requiem, Op.96 world premiere

1. Bread and Iron

2. And Then…

3. There will Come Soft Rains

4. Hiroshima Five-Line Stanzas

5. People Walked

6. Sow the Seed

Please see the printed programme book for the transliterated Russian text and English translation.

Mieczyslaw Weinberg was born in Warsaw, emigrated twice to escape the Nazis, then settled in

Moscow, where he became a close friend and colleague of Shostakovich, beginning a musical

dialogue that lasted more than 30 years. Leading Soviet artists such as the Borodin Quartet, Kirill

Kondrashin, David Oistrakh and Mstislav Rostropovich took up his cause. But as a Polish-born Jew

who sought neither acclaim nor influence, Weinberg was never considered suitable export material,

and his music only made its international breakthrough after his death.

Weinberg himself referred to the 1960s as his ‘golden age’. Not only were his works regularly

performed by the Soviet Union’s star musicians, but it was also a period of immense creative

productivity and achievement, including the finest and most ambitious of his 26 symphonies, Nos.5-

10. Like Shostakovich’s Thirteenth and Fourteenth Symphonies, within whose temporal boundaries

they fall, Weinberg’s Sixth, Eighth and Ninth, are choral works. Their ethical content – reflecting on

the Second World War, in which his family had perished at the hands of the Nazis – is also the

subject matter of his Requiem of 1965-67. And the same topic culminates in the first of what would

eventually be seven operas, The Passenger, composed 1967-68, which is set half in Auschwitz and

deals with the recollections of a former camp guard. Like the opera, the Requiem was not performed

in the composer’s lifetime, despite the fact that its chosen texts are unimpeachably anti-fascist. The

reasons it was sidelined are a matter for speculation. All such works had to pass a process of peer

review, and if the musical language or textual content was deemed too Western, too abstract,

insufficiently pro-Soviet, or dubious in any one of a dozen other ways, that could be enough to

scupper the prospects of performance.

Though not unheard-of in the officially atheist Soviet Union, requiems tended to be secular affairs,

commemorating communist heroes such as Lenin or the fallen in wartime. Alexander Lokshin’s First

Symphony of 1957 may well be the earliest example of using the text of the Latin mass for the dead.

Weinberg’s six movements set words by poets of different countries. In this respect his Requiem falls

into the line of Britten’s War Requiem (composed in 1962, and a work Weinberg knew well, thanks to

the enthusiasm of Shostakovich), Penderecki’s Dies irae (also completed in 1967) and Shostakovich’s

Fourteenth Symphony (1969). The common message of all these works is outrage and compassion.

Like Britten, Weinberg uses boys’ voices to enhance images of innocence and hope. And as

Shostakovich would do in his symphony, Weinberg includes poems by García Lorca among his multinational

texts. Like both those composers, he deploys carefully selected instrumental ensembles, not

only for the practical purposes of balance and contrast but also to lend a certain astringency to the

orchestral palette – Weinberg’s Requiem is scored for soprano solo, boys’ chorus, mixed chorus and

an orchestra consisting of four flutes, four oboes, four horns, celesta, harpsichord, piano, percussion

and strings.

The epigraph printed at the head of the score is an excerpt from a poem by Aleksandr Tvardovsky

(1910-71):

The gun-barrels are still warm,

And the sand has not yet absorbed the blood.

But peace has come. Breathe, people,

For the threshold of war has been crossed…

The first movement sets ‘Bread and Iron’ by Soviet poet Dmitry Kedrin (1907-45), the contrasting

images of the title symbolising life and death. Weinberg’s setting is all hard edges and grating low

sonorities, as if in response to the last lines: ‘But how may we not curse that steel, which instantly lays

us to rest in subterranean dwellings?’

The soprano solo vocal line is then taken up by celesta and harpsichord in a maelstrom of

semiquavers that runs throughout ‘The Desert’ (retitled in the score, ‘And then…’) by
Federico García

Lorca (1898-1936), which describes the ravages of time inflicted on the labyrinths of civilisation,

leaving behind only a desert.

For ‘There will be Gentle Rain’ by Sara Teasdale (1884-1933), Weinberg deploys harsh sonorities

and cluster harmonies, as if to remind us of the presence of war which the text prophesies will be

forgotten (‘No one will remember’). This highlighting of subtext suggests lessons learnt from

Shostakovich’s setting of Yevtushenko’s ‘Fears’ in his Thirteenth Symphony (‘Fears are
dying out in

Russia’). Nevertheless Weinberg’s three rotations of the Teasdale’s text serve to emphasize

consolation rather than protest.

The fourth movement is more or less identical to Weinberg’s cantata Hiroshima Five-line Stanzas,

Op.92 with text by Munetoshi Fukagawa, and it may well be that the Requiem as a whole was

conceived as an expansion of that work. Here the idiosyncratic instrumental colour is supplied by

vibraphone and mandolin, lending an oriental tinge. The setting builds towards a climax of hammered

violence, before subsiding towards the quoted line ‘No more Hiroshima’, declaimed in English. The

concluding wordless children’s chorus with string accompaniment is an addition to the original

cantata.

A second Lorca setting follows, ‘People walked…’, in which the soprano solo is accompanied largely

by harpsichord, mandolin and double bass.

Without a break the last movement sets ‘This seed!’ by the conformist Soviet poet Mikhail Dudin

(1916-1993), with its image of sowing seeds for the future. This more or less obligatory socialistrealist

spin on the tragedy of war contrasts with the bleakness at the end of Shostakovich’s

Fourteenth Symphony, especially as Weinberg’s children’s chorus picks up the bright harmonies from

the second movement and the violins eventually lead those harmonies towards a palely consoling E

major conclusion.



in house

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