Day Four of the Weinberg 100 Festival featured two back-to-back concerts in the Viennese Hall of the Mozarteum. The first completely sold out, presumably based on the star power of Gidon Kremer, the soloist for Moishe Weinberg‘s first and second violin sonate. Kremer may, to a degree, be indirectly responsible for this festival: he had become a champion of Weinberg’s music, and I believe it was through him (the Baltic connection – he’s based in Latvia and is active with chamber music across the Baltic states) that the Lithuanian conductor Mirga Gražynitė-Tyla discovered and also championed it. She was chief conductor of the Salzburg Landestheater at the time, and the Mozarteum Orchestra is the pit orchestra for the opera, and she also regularly leads the orchestra in concerts as well, and while she did not introduce Weinberg to the Salzburg public then, she is one of the drivers behind this festival, together with Mozarteum Orchestra concertmaster Frank Stadler, who fell for Weinberg’s music shortly after that.
At any rate, as for the music: I’m afraid I am not so sure about these two sonate. Weinberg’s music is quite complex, but I find he does best with multiple lines weaving among each other in fascinating ways, and this is harder to pull off on one instrument. Not impossible (and certainly Kremer has that talent), just harder. So while remarkable music, and well performed, these two solo sonate just did not seem to speak to me. Kremer added another work as an encore, but although repeating several times what it was he kept mumbling it so that everyone sitting around me looked at each other shrugging our shoulders – I think I understood that it was a work Weinberg wrote for his friend the cellist Mstislav Rostropovich, which Kremer had transcribed from cello to violin.
The rest of the concert contained (good) filler, works being performed elsewhere during the festival, which did not need to appear on the program again and could have been substituted for other Weinberg works.
Philipp Huber, one of the student pianists on Thursday, returned to perform Weinberg’s Piano Sonata #6, which he also played on Thursday and apparently (according to the program but not the original schedule) will play again at tomorrow’s concert. The conditions this evening were much more conducive to hearing his performance than in that awful auditorium on Thursday, and so today it was possible both to hear Huber’s enormous talent as well as grasp the sense of the two-movement sonata he performed. Huber is 16 years old, and certainly belongs in the adult surroundings of the Mozarteum’s Viennese Hall, showing excellent self-confidence for a not-easy work. That said, I wish Weinberg had orchestrated this work, as it would be a great improvement to hear it on more than a solo piano (not Huber’s fault – he was excellent and now I look forward to hearing him perform it again tomorrow). Huber added as an encore the movement from the opus 16 piano cycle he performed as part of the train of student performers on Thursday, and again the better setting this evening gave him more confidence and stage presence.
Gražynitė-Tyla had opened the concert in the midst of the Children’s Chorus of the Salzburg Festival and Landestheater, with three excerpts from Children’s Songs opus 139 – Russian-language adaptations of Jewish songs, a fun way to start the evening. We’ll hear them again tomorrow, too.