Because
Mieczyslaw Weinberg is almost always mentioned in connection with his more famous friend and colleague,
Dmitry Shostakovich, his place in Soviet-era music has been somewhat obscured and his compositions relatively overlooked. However, efforts to record
Weinberg's prodigious output have made it more accessible to interested western listeners, and many find the best of his music every bit as serious, compelling, and satisfying as
Shostakovich's work. The solo cello pieces
Emil Rovner recorded for Divox provide an opening for newcomers to explore
Weinberg's modes of expression, because the concentrated linear style of the Sonata No. 2 and the selected preludes is clear and easy to follow. While
Weinberg's tonality is complicated by many unexpected shifts of key areas, the overall impression is that it is largely diatonic, often suggestive of minor keys, and the frequent use of consonant intervals in double-stops mitigates any sense of harshness. Long-breathed melodies and the idiomatic use of advanced cello techniques make these attractive compositions, which many cellists should add to their repertoire.
Weinberg's song writing is also shown in the world-premiere recording of "Die Nacht," in which
Rovner sings and accompanies himself at the piano. This haunting song is an unexpected offering on a cello album, but
Rovner reveals himself to be as polished a singer as he is a skilled instrumentalist, and this track serves to emphasize the lyrical impulse that runs through much of the cello music.