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20th century

Baroque

Classical

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20th century

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Solo repertoire

Piccolo

Alto flute

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Weinberg Mieczysław

Aitken, Robert

Arnold, Malcolm

Barber, Samuel

Bartók, Béla Viktor János

Beaser, Robert

Bennet, Richard Rodney

Berio, Luciano

Bernstein, Leonard

Bloch, Ernest

Bolling, Claude

Boulanger, Marie-Juliette

Bozza, Eugène Joseph

Brown, Elizabeth

Brun, Georges

Burton, Eldin

Büsser, Henri

Camus, Pierre

Carter, Elliott

Casella, Alfredo

Clarke, Ian

Colquhoun, Michael

Copland, Aaron

Corigliano, John

Dahl, Walter Ingolf Marcus

Damase, Jean-Michel

Davidovsky, Mario

Debussy, Claude

Del Tredici, David

Denisov, Edison

Dick, Robert

Dohnányi, Ernő

Dutilleux, Henri

Enescu, George

Feld, Jindřich

Ferroud, Pierre-Octave

Foote, Arthur

Foss, Lukas

Françaix, Jean

Fukushima, Kazuo

Gaubert, Philippe

Gieseking, Walter

Gordeli, Otar

Griffes, Charles Tomlinson

Grovlez, Gabriel

Guarnieri, Mozart Camargo

Hanson, Howard Harold

Harsányi, Tibor

Harty, Hamilton

Heiss, John

Heith, David

Higdon, Jennifer

Hindemith, Paul

Honegger, Arthur

Hoover, Katherine

Hosokawa, Toshio

Hovhaness, Alan

Hüe, Georges Adolphe

Ibert, Jacques

Ichiyanagi, Toshi

Ittzés, Gergely

Jacob, Gordon

Jemnitz, Sándor

Jirák, Karel Boleslav

Jolivet, André

Karg-Elert, Sigfrid

Kennan, Kent Wheeler

Kornauth, Egon

La Montaine, John

Liebermann, Lowell

Martin, Frank

Martino, Donald

Martinů, Bohuslav

Messiaen, Olivier

Mihalovici, Marcel

Milhaud, Darius

Mouquet, Jules

Mower, Mike

Muczynski, Robert

Nielsen, Carl

Offermans, Wil

Piazzolla, Astor

Piston, Walter

Poulenc, Francis

Prokofiev, Sergey

Rachmaninoff, Sergei

Ran, Shulamit

Ravel, Maurice

Reynolds, Verne

Rivier, Jean

Rota, Nino

Roussel, Albert

Rutter, John

Saariaho, Kaija

Sancan, Pierre

Schulhoff, Erwin

Schwantner, Joseph

Sciarrino, Salvatore

Shostakovich, Dmitri

Sibelius, Jean

Tailleferre, Germaine

Takemitsu, Tōru

Taktakishvili, Otar

Varèse, Edgar

Vasks, Pēteris

Weigl, Vally

Weinberg, Mieczysław

Williams, Ralph Vaughan

Yun, Isang

12 Miniatures for Flute and Piano, Op. 29

By Weinberg Mieczysław

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.

 

Noemi Györi

Katalin Csillagh (piano), 3 May 2017 live at the Solti Hall, Liszt Academy of Music

12 Miniatures

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Lorna McGhee

Zoltán Fejérvári (piano), live performance on June 19, 2018 at the Cleveland History Center

12 Miniatures

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Henrik Wiese

Elisaveta Blumina (piano), 2012, CPO / Naxos of America

2. Arietta : Andante con moto

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Henrik Wiese

Elisaveta Blumina (piano), 2012, CPO / Naxos of America

3. Burleske : Allegro moderato

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Henrik Wiese

Elisaveta Blumina (piano), 2012, CPO / Naxos of America

4. Capriccio : Marziale marcatissimo

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Henrik Wiese

Elisaveta Blumina (piano), 2012, CPO / Naxos of America

5. Nocturne : Andantino

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Henrik Wiese

Elisaveta Blumina (piano), 2012, CPO / Naxos of America

6. Walz : Allegro molto

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Henrik Wiese

Elisaveta Blumina (piano), 2012, CPO / Naxos of America

7. Ode : Largo

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Henrik Wiese

Elisaveta Blumina (piano), 2012, CPO / Naxos of America

8. Duett : Andante tranquillo

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Henrik Wiese

Elisaveta Blumina (piano), 2012, CPO / Naxos of America

9. Barkarole : Moderato comodo

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Henrik Wiese

Elisaveta Blumina (piano), 2012, CPO / Naxos of America

10. Etüde : Presto

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Henrik Wiese

Elisaveta Blumina (piano), 2012, CPO / Naxos of America

11. Intermezzo : Adagio

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Henrik Wiese

Elisaveta Blumina (piano), 2012, CPO / Naxos of America

12. Pastorale : Allegretto

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Henrik Wiese

Elisaveta Blumina (piano), 2012, CPO / Naxos of America

1. Improvisation : Maestoso

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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.