Weinberg: Sonata for Solo Cello No. 1, Op. 72

The importance of Mieczysław Weinberg’s 24 Preludes for solo cello, written for Rostropovich, lies beyond their superficial resemblance to Bach’s Well-tempered Clavier or the piano preludes of Chopin or Weinberg’s colleague Shostakovich. Instead, it resides in Weinberg’s remarkable ability to write for solo cello with almost limitless imagination, using myriad musical styles and varied techniques. These fascinating qualities are also to be found in his more expansively lyrical Sonata, a masterfully written outpouring of deep emotions. Latvian-born cellist Josef Feigelson has enjoyed a solo career spanning over three decades and champions neglected cello repertoire.

Born in Warsaw but forced to flee to Minsk and then Tashkent before finally settling in Moscow, Mieczyslaw Weinberg was, as Shostakovich remarked, ‘one of the most outstanding composers of the present day’ and a close friend of the older composer.

His Cello Sonatas, the second of which was composed for Rostropovich, make masterful use of the cello’s expressive capabilities, while his sonatas for solo cello have been likened in importance to the suites of J.S. Bach.

The first and third of these in particular, dedicated to Rostropovich, are significant contributions to the instrument’s repertoire.

“[Dmitry Yablonsky’s] playing has enormous warmth and communicative flair.” New York Times

Little known in the West and victim of anti-Semitic ostracism in the former USSR, the name of Weinberg seems to be slowly emerging from the shadow of Shostakovich, his protector and friend. His chamber music includes 17 quartets, the most experimental body of his work along with his cello sonatas, written with Rostropovich in mind. Ongoing collections of his works are now appearing:Toccata's song cycle, a symphony cycle on Bis and a string quartet cycle for CPO, all of which have been enthusiastically received.