20th century
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Weinberg Mieczysław
Aitken, Robert
Amirov, Fikret
Amlin, Martin
Amram, David
Andriessen, Jurriaan
Arnold, Malcolm
Arrieu, Claude
Auric, Georges
Babbit, Milton
Bacchus, Peter
Bacri, Nicolas
Baker, Michael Conway
Baksa, Robert
Barber, Samuel
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Bon, Maarten
Bonis, Mel
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Boulanger, Marie-Juliette
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Bowen, Edwin York
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Brings, Allen
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Burton, Eldin
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Carmichael, John
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Casella, Alfredo
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Saariaho, Kaija
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Schulhoff, Erwin
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Sibelius, Jean
Smit, Leo
Tailleferre, Germaine
Takemitsu, Tōru
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Tansman, Alexandre
Tomasi, Henri
Tower, Joan
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Varèse, Edgar
Vasks, Pēteris
Weigl, Vally
Weinberg, Mieczysław
Wilder, Alec
Williams, Ralph Vaughan
Yi, Chen
Yun, Isang
Zgraja, Krystof
12 Miniatures for Flute and Piano, Op. 29
12 Miniatures for Flute and Piano, Op. 29
M. Weinberg: 12 Miniatures for Flute and Piano, Op. 29 was composed between November 29th and December 6th, 1945 during which Weinberg lived in Moscow with Shostakovich.
There is no record of a premiere performance of the Miniatures. Later in life, Weinberg came back to the Miniatures, arranging them for flute and string orchestra in 1983 as Op.29bis.
Arranged in ascending chromatic order, beginning in D-flat major and ending in C major, each movement has a distinct character, but there are stylistic threads that connect the work as a whole. The interaction between the flutist and pianist is distinctive, with some movements featuring the flute nearly exclusively, and others featuring the piano with only small contributions from the flute. Often one instrument will enter a movement that is otherwise dominated by the other to
reinforce a pitch center or to re-establish a key.
Although each movement is centered on a key area, the harmonies do not often function in a traditional tonal sense. Instead, Weinberg uses a sense of “home” (the central note or harmony of a movement) and “away” (a chromatic passage or a distantly related tonal area).
Often the idea of “home” will be juxtaposed with “away” through the use of pedal tones or repeated harmonies. These “home” harmonies or tones provide a sense of harmonic stability despite the use of highly dissonant and chromatic elements. Once distant tonal territory has been reached, Weinberg often makes use of a series of semitones to return to the original tonality or pitch center. These opposing poles help to structure the music in the same way that a traditional dominant/tonic relationship would in a more conventional tonal work.
Zoltán Fejérvári (piano), live performance on June 19, 2018 at the Cleveland History Center
12 Miniatures
Katalin Csillagh (piano), 3 May 2017 live at the Solti Hall, Liszt Academy of Music
12 Miniatures
Elisaveta Blumina (piano), 2012, CPO / Naxos of America
1. Improvisation : Maestoso
Elisaveta Blumina (piano), 2012, CPO / Naxos of America
2. Arietta : Andante con moto
Elisaveta Blumina (piano), 2012, CPO / Naxos of America
3. Burleske : Allegro moderato
Elisaveta Blumina (piano), 2012, CPO / Naxos of America
4. Capriccio : Marziale marcatissimo
Elisaveta Blumina (piano), 2012, CPO / Naxos of America
8. Duett : Andante tranquillo
Elisaveta Blumina (piano), 2012, CPO / Naxos of America
9. Barkarole : Moderato comodo
Elisaveta Blumina (piano), 2012, CPO / Naxos of America
12. Pastorale : Allegretto
Weinberg Mieczysław
Mieczysław Weinberg (1919-1996) was born in Warsaw in a musical family. His father was a violinist, composer, and musical director at a Jewish theatre, and the first music teacher of the young Mieczysław.
In 1933 he continued his piano studies at the Warsaw Conservatory under tuition of Józef Turczyński.
After fleeing Poland after the German invasion in 1939, he studied composition in Minsk (now Belorussia) with Vassily Zolotaryov, a disciple of Balakirev and Rimsky-Korsakov. The day after his final examinations in June 1941 the Wehrmacht rolled into Russia and Weinberg was again forced to flee. He found work as a coach at the Tashkent opera house in eastern Uzbekistan. Many intellectuals and artists had been evacuated here, among them the illustrious actor and theatre director Solomon Mikhoels, a Latvian Jew whose daughter, Natalia Vovsi, Weinberg would soon marry.
Immensely impressed by his First Symphony, Shostakovich organized for Weinberg to come to Moscow. He arrived in the capital in 1943 and remained there until his death in 1996.
Weinberg claimed that Shostakovich had introduced him to “a new continent” in music, and despite the 12-year age difference and Shostakovich’s burgeoning reputation, the nature of their relationship was collegial rather than that of master and student. They lived in the same Moscow apartment block; saw each other regularly, and played through one another’s compositions, often in arrangements for two pianos.
When Stalin’s anti-Semitic purges began again in 1948, Solomon Mikhoels, Weinberg’s father-in-law, was murdered by the KGB (the state secret police), his corpse run over by a truck and his death described as “an accident”. So began a particularly depressing period in Soviet musical history. Weinberg himself was arrested in January 1953 and charged with conspiring to establish a Jewish republic in Crimea.
Shostakovich, wrote to Stalin and his equally unpredictable security chief, Lavrenti Beria, protesting Weinberg’s innocence. Weinberg, incarcerated in sub-zero temperatures was deprived of sleep and interrogated. It was only Stalin’s propitious death on March 5th, 1953 that led to Weinberg’s public rehabilitation and ultimate release.
Weinberg lost many relatives in the war, including his parents and sister who died at the Trawniki camp, about 90 miles southeast of Warsaw. His experience of hate and racism informs his music to a very considerable degree. He contemplates the horrors of repression, the suffering of the Jews, and in particular the loss of children in many of his works.