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20th century

Baroque

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Solo repertoire

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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

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Bozza, Eugène Joseph

Brown, Elizabeth

Brun, Georges

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Clarke, Ian

Colquhoun, Michael

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Corigliano, John

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Damase, Jean-Michel

Davidovsky, Mario

Debussy, Claude

Del Tredici, David

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Dohnányi, Ernő

Dutilleux, Henri

Enescu, George

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Foote, Arthur

Foss, Lukas

Françaix, Jean

Fukushima, Kazuo

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Griffes, Charles Tomlinson

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Harty, Hamilton

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Higdon, Jennifer

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Honegger, Arthur

Hoover, Katherine

Hosokawa, Toshio

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Hüe, Georges Adolphe

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Kornauth, Egon

La Montaine, John

Liebermann, Lowell

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Martino, Donald

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Milhaud, Darius

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Sancan, Pierre

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Schwantner, Joseph

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Shostakovich, Dmitri

Sibelius, Jean

Tailleferre, Germaine

Takemitsu, Tōru

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Varèse, Edgar

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Weigl, Vally

Weinberg, Mieczysław

Williams, Ralph Vaughan

Yun, Isang

Flute Concerto No 1, Op. 75

By Weinberg Mieczysław

M. Weinberg: Concerto No 1 for flute and string orchestra, Op. 75 was written in 1961 and dedicated to Alexander Korneyev who premiered it on November 25 in the Great Hall of the Moscow Conservatory with the Moscow Chamber orchestra, conducted by Rudolf Barshai.
A recording with the same performers was later issued on LP
Its dedication and premiere reflect a new relationship between Weinberg and Korneyev that was likely forged through their time together in Moscow and almost certainly took place at least in part in the Hall of Composers in Moscow. This three-movement work displays
stark contrasts between the frenzied first movement, the lyrical and nearly static second movement, and the playful, dance-like third movement.
The first movement showcases both the technical prowess of the flutist
and the technical capabilities of the flute. Flutes in Soviet Union at this time were mostly East German, and were mechanically substandard.

Claudia Stein

David Robert Coleman (conductor), Szczecin Philharmonic Orchestra, 2019 Naxos

1. Allegro molto

00:00
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Claudia Stein

David Robert Coleman (conductor), Szczecin Philharmonic Orchestra, 2019 Naxos

2. Largo

00:00
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Claudia Stein

David Robert Coleman (conductor), Szczecin Philharmonic Orchestra, 2019 Naxos

3. Allegro commodo

00:00
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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.