Catalogue of works
Mieczysław Weinberg
Catalogue of works
Mieczysław Weinberg
M i e c z ys Ĺ‚ aw W e i n b e r g
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peermusic classical
M i e c z ys ł aw W e i n b e r g
Mi e czysław W e i nberg (1919-1996) Living the last 57 years of his life in exile from his native Poland, respected by many, venerated by some, yet progressively neglected by the Soviet musical establishment, Mieczysław Weinberg was one of the 20th century’s major composers of symphonies, chamber music, operas and vocal works. His Fourth, Fifth and Sixth Symphonies, pinnacles of his orchestral output, made some early ripples in the West, thanks to superb recordings conducted by Kirill Kondrashin. The unfailing support of his friend and mentor, Shostakovich, was well attested. Also no secret was the advocacy of other eminent artists such as the Borodin Quartet, Gilels, Rostropovich and Kogan. Now, however, and with extraordinary rapidity, so it seems, five of his seven operas have been restaged in the West – spearheaded by the Auschwitz-based The Passenger. All 17 of his magnificent string quartets have appeared on CD, along with all six of his concertos, all 30 of his sonatas, his imposing piano trio and piano quintet, 23 of his 26 symphonies (encompassing everything from string chamber ensembles to massive choral symphony-oratorios) and at least a few of his many song opuses. As this output is progressively taken up by today’s star performers, what has been revealed is a profoundly individual style, fusing moral outrage, dramatic sweep, touching intimacy and superb craftsmanship. Former suspicions of epigonism – based on a skewed perception of Weinberg’s relationship with Shostakovich, which was in fact founded on mutual respect and influence – have evaporated. The posthumous rediscovery of Mieczysław Weinberg has been one of the most striking phenomena in the recent history of classical concert music. David Fanning
peermusic classical
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M i e c z ys Ĺ‚ aw W e i n b e r g
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peermusic classical
M i e c z ys ł aw W e i n b e r g
“I shall never tire of taking delight in Weinberg’s opera The Passenger. I have heard it three times, I have studied the score, and each time I have grasped more deeply the beauty and greatness of this music.
It is a masterful work, perfect in form and style, and I may add highly contemporary in its subject matter. The moral concepts at the heart of the opera – its spirituality and its humanism – cannot fail to impress its listeners. The music is profoundly shattering in its drama. It is poignant and vividly formed; there is not one single empty, indifferent note.“ Dmitri Shostakovich
peermusic classical
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M i e c z ys Ĺ‚ aw W e i n b e r g Music for Piano
P iano Qui n t e t , O p. 1 8 ( 1 9 4 4 ) [ 0: 40: 00] { 2 v l , v a , v c, pno }
Can c a n in hono ur of Ra s t orguyev (1965) Two F ugue s for L. Ber lins kay a (1983) [ 0 :0 3 : 40] Th ree Children’s Note books , Op p. 16, 19 & 23 23 piece s for Pia no (19 44- 1945) [ 0 :3 6 : 00] 21 Eas y Piece s, Op. 34 ( 1946) [ 0 :1 8 : 00] Two Mazurka s (1933) [ 0 :0 4 : 30] Partit a, Op. 54 (1953) [ 0 :2 2 : 54] Son ata No. 1, Op. 5 (19 40) [ 0 :1 4 : 00] Son ata No. 2, Op. 8 (19 42) [ 0 :1 8 : 00] Son ata No. 4, Op. 56 (1 955) [ 0 :3 0 : 00] Son atina / Sona ta, Op. 4 9/ 49bis (1950-51, rev. 1978) [ 0 :1 5 : 12]
R haps ody o n M o l d av i a n T h e m e s , O p. 4 7 / 3 f or v iolin a n d p i a n o ( 1 9 4 9 - 1 9 5 2 ) [ 0: 12: 00] Sonata for Solo Violin No. 3, Op. 126 (1979) [ 0: 21: 00] S onat a f o r Two V i o l i n s , O p. 6 9 ( 1 9 5 9 ) [ 0: 19: 00] S onat a f o r V i o l i n a n d P i a n o N o. 1 , O p. 12 ( 1 9 4 3 ) [ 0: 19: 00] S onat a f o r V i o l i n a n d P i a n o N o. 2 , O p. 15 ( 1 9 4 4 ) [ 0: 20: 00] S onat a f o r V i o l i n a n d P i a n o N o. 3 , O p. 37 ( 1 9 4 7 ) [ 0: 21: 00] S onat a f o r V i o l i n a n d P i a n o N o. 4 , O p. 39 ( 1 9 4 7 ) [ 0: 17: 00] S onat a f o r V i o l i n a n d P i a n o N o. 5 , O p. 53 ( 1 9 5 3 ) [ 0: 28: 00]
Lullaby, Op. 1 (1935) [ 0 :0 5 : 00]
S onat a f o r V i o l i n a n d P i a n o N o. 6 , O p. 136bi s ( 1 9 8 2 ) [ 0: 10: 00]
Ch amber Music with String In strum ents
S onat ina f o r V i o l i n a n d P i a n o, O p. 46 ( 1 9 4 9 ) [ 0: 14: 00]
Aria f or String Qua rtet, O p. 9 ( 1942) [ 0 :0 4 : 25] Capriccio for String Quartet, Op. 11 (1943) [ 0 :0 6 : 25] Piano Trio, Op. 24 (1945) [ 0 :3 0 : 00] {v l , v c, pno}
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S onat as f o r S o l o V i o l a , O p p. 1 0 7 , 1 2 3 , 135 & 13 6 ( 1 9 7 1 - 1 9 8 3 ) [ 1: 34: 00] S onat as f o r S o l o V i o l o n ce l l o, O p p. 7 2 , 8 6 , 86/ 121, 1 0 6 & 1 4 0 / 1 4 0 b i s ( 1 9 6 0 - 1 9 8 5 ) [ 0: 55: 00]
peermusic classical
M i e c z ys Ĺ‚ aw W e i n b e r g Son ata for Vio lonce llo and P iano No. 1, Op. 2 1 (1945) [ 0 :2 0 : 00] Son ata for Vio lonce llo and P iano No. 2, Op. 6 3 (1959) [ 0 :2 1 : 00] Son ata for Solo Do uble B as s , O p. 108 (1971) [ 0 :1 6 : 00]
S t ring Qu a r t e t N o. 1 2 , O p. 1 0 3 ( 1 9 7 0 ) [ 0: 30: 00] S t ring Qu a r t e t N o. 1 6 , O p. 1 3 0 ( 1 9 8 1 ) [ 0: 27: 00] S t ring Qu a r t e t N o. 1 7 , O p. 1 4 6 ( 1 9 8 6 ) [ 0: 17: 00] Three P ie ce s f o r V i o l i n a n d P i a n o ( 1934-19 3 5 ) [ 0: 13: 26]
String Trio, Op. 48 (1950) [ 0 :1 5 : 00] String Q uar tet No. 1, O p. 2/ 141 (1937, rev. 1985) [ 0 :2 1 : 00] String Q uar tet No. 2, O p. 3/ 145 (1940, rev. 1986) [ 0 :2 3 : 00] String Q uar tet No. 3, O p. 14 ( 1944) [ 0 :1 8 : 00]
Ch a mb er M u s i c w ith W o o dwi nd In s t r u m e nt s Fiv e P iec e s f o r F l u t e a n d P i a n o ( 1 9 4 7 ) [ 0: 13: 30] Tw elv e P i e ce s ( M i n i a t u re s ) f or Flut e a n d P i a n o, O p. 2 9 ( 1 9 4 5 ) [ 0: 17: 45] S onat a f o r C l a r i n e t ( A ) a n d P i a n o, O p. 2 8 [ 0: 19: 00]
String Q uar tet No. 4, O p. 20 ( 1945) [ 0 :2 4 : 00] M ix ed En s e m b le s String Q uar tet No. 5, O p. 27 ( 1945) [ 0 :2 1 : 00]
Trio, O p. 1 2 7 [ 0: 12: 05] { f l , v a , hpsd}
String Q uar tet No. 6, O p. 35 ( 1946) [ 0 :2 4 : 00] O r c h es t r a M u s i c String Q uar tet No. 7, O p. 59 ( 1957) [ 0 :2 3 : 00] String Q uar tet No. 8, O p. 66 ( 1959) [ 0 :1 8 : 00] String Q uar tet No. 9, O p. 80 ( 1963) [ 0 :2 5 : 00] String Q uar tet No. 10, O p. 85 (1964) [ 0 :1 9 : 00] String Q uar tet No. 11, O p. 89 (1966) [ 0 :2 1 : 00]
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S ix B alle t S ce n e s , O p. 1 1 3 ( 1 9 7 3 ) [ 0: 20: 00] { 3 - 3 - 3 - 3 , 4 - 3 - 3 - 1 , t i m p, pe r c ( 3 ) , hp, pno, str} R B urat t ino o r T h e G o l d e n K e y O rches t ra S u i t e N o. 4 , O p. 5 5 d ( 1 9 6 4 ) [ 0: 16: 20] { 3 - 3 - 3 - 4 , 4 - 3 - 3 - 1 , t i m p, pe r c ( 3 ) , hp, str} R The B ann e r s o f P e a ce, O p. 1 4 3 festive poem for symphony orchestra (1985) [ 0: 22: 00] { 3 - 3 - 4 - 3 sa x - 3 , 6 - 4 - 4 - 0 , t i m p, p e r c (3), c e l , pno , hp, st r } R
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M i e c z ys ł aw W e i n b e r g Chambe r Symphony No. 1, O p. 145 (1987) [ 0 :2 7 : 35] {s tr orch} R Chambe r Symphony No. 2, O p. 147 (1987) [ 0 :1 8 : 00] {s tr orch, ti mp} R Chambe r Symphony No 3, O p. 151 ( 1990) [ 0 :3 1 : 25] {s tr orch} R Dawn, Op. 60 symphonic po em (1957 ) { 4 -3 -4-4, 6-4-3-1, ti mp , p e r c , h p , s t r } R Polish Tunes, Op. 47/ 2 (1960) [ 0 :1 8 : 00] {3-2-0-0, 4-3 - 2- 0, t im p , p e r c (3), h p , st r} R Rhap so dy on Mo ldavia n Them es , O p. 47/ 1 (1949) [ 0 :1 2 : 00] {3-2-2-2, 4-3 - 3- 1, t im p , p e r c (3), h p , st r} R Seren ade, Op. 47/ 4 (1952) [ 0 :1 8 : 00] {3-2-2-2, 4-3 - 3- 1, t im p , p e r c , 2 h p , str} R Sin fonietta No. 2, Op. 74 ( 1960) [ 0 :1 8 : 00] {s tr orch, ti mp} R Suit e fo r Chambe r Orches t ra, O p. 26 (1939-1945) [ 0 :1 8 : 00] {1-1-2-1, 2-0 - 0- 0, t im p , s t r } R Symphony No. 1, Op. 10 (1942) [ 0 :3 1 : 00] {3-3-3-3, 4-3 - 3- 1, t im p , p e r c (3), h p , st r} R Symphony No. 2, Op. 30 (1945) [ 0 :3 0 : 00] {s tr orch} R Symphony No. 3, Op. 45 (1949-1959) [ 0 :3 4 : 00] {3-3-3-3, 6-3 - 3- 1, t im p , p e r c (3), h p , st r} R
S y m phon y N o. 5 , O p. 7 6 ( 1 9 6 2 ) [ 0: 40: 00] { 4 - 3 - 4 - 3 , 6 - 4 - 3 - 1 , t i m p, pe r c ( 3 ) , xyl, c e l, hp, st r } R S y m phon y N o. 7 , O p. 8 1 ( 1 9 6 4 ) [ 0: 24: 00] { hpsd, st r o r c h} R S y m phon y N o. 1 3 , O p. 1 1 5 ( 1 9 7 6 ) [ 0: 32: 00] { 3 - 3 - 3 - 3 , 6 - 4 - 4 - 1 , t i m p, pe r c, hp, str} R S y m phon y N o. 1 6 , O p. 1 3 1 ( 1 9 8 1 ) [ 0: 29: 00] { 1 - 1 - 2 - 2 , 4 - 3 - 3 - 0 , t i m p, pe r c ( 3 ) , hp, pno, str} R S y m phon y N o. 1 7 ‘ M e m o r y ’ , O p. 1 3 7 ( 1982-19 8 4 ) [ 0: 45: 00] { 3 - 3 - 4 - 3 , 4 - 3 - 3 - 1 , t i m p, pe r c ( 3 ) , h p , c e l, pno , hpsd, st r } R S y m phon y N o. 1 9 ‘ T h e B r i g h t M a y ’ , O p. 142 ( 1 9 8 5 ) [ 0: 34: 00] { 4 - 3 - 4 - 2 sa x - 3 , 6 - 4 - 4 - 1 , t i m p, p e r c (3), 2 hp, st r } R S y m phon y N o. 2 0 , O p. 1 5 0 ( 1 9 8 8 ) [ 0: 39: 00] { 3 - 3 - 4 - 3 , 6 - 4 - 4 - 1 , t i m p ( 2 ) , pe r c (3), h p , pno ( 4 m s) , st r } R S y m phon y N o. 2 1 ‘ K a d d i s h ’ , O p. 1 5 2 ( 1991) [ 0: 50: 00] { 3 - 3 - 3 - 3 , ssa x , a sa x , 6 - 4 - 4 - 1 , t im p , p e r c ( 3 ) , hp, pno / ce l , ha r m , c so l o , str} R Four S y m p h o n i c I m a g e s , O p. 6 8 ( 1951, re v. 1 9 9 1 ) [ 0: 15: 00] { 3 - 2 - 2 - 2 , 4 - 3 - 3 - 1 , pe r c , c e l , hp, str} R S y m phon i c P o e m ‘ C h r o m a t i c S y m p h o n y ’ O p. 6 ( 19 4 1 ) [ 0: 15: 00] { 3 - 2 - 3 - 2 , 4 - 3 - 3 - 1 , t i m p, pe r c, hp, pno, str} R
Symphony No. 4, Op. 61 (1957, rev. 1961) [ 0 :2 7 : 00] {3-3-3-3, 4-3 - 3- 1, t im p , p e r c (2), xyl, h p, s tr} R
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M i e c z ys ล aw W e i n b e r g Solo Co ncerts Con c e rtino, Op. 42 (1948) [ 0 :1 2 : 00] {v l s ol o; s tr orc h } R
O n t he Th re s h o l d t o t h e P a s t , O p. 5 0 t en s ongs o n p o e m s by A . B l o k ( 1 9 5 1 ) [ 0: 19: 00] { m e z , pno }
Chambe r Symphony, Op. 153 ( 1992) [ 0 :3 4 : 20] {cl s ol o; perc, s t r } R
From t he P o e t r y o f F e t , O p. 1 3 4 t en s ongs ( 1 9 8 1 ) [ 0: 30: 00] { b, pno }
Con c e rto fo r Flute and O rches t ra No. 1, Op. 7 5 (1961) [ 0 :1 4 : 00] {f l s ol o; s tr or c h } R
From t he P o e t r y o f B a ra t y n s ky, O p. 1 2 5 s ev en s on g s ( 1 9 7 9 ) [ 0: 17: 00] { b, pno }
Con c e rto fo r Flute and O rches t ra No. 2, Op. 1 48 (1987) [ 0 :2 1 : 00] {f l s ol o; 0-1-4 - 2, 3- 0- 0- 0, t im p , p erc, hp, s tr} R
From t he P o e t r y o f Z h u kov s ky, O p. 1 1 6 t en s ongs ( 1 9 7 6 ) [ 0: 31: 00] { b, pno }
Con c e rto fo r Flute and O rches t ra No. 2, Op. 1 48bis (1987) [ 0 :2 1 : 00] {f l s ol o; s tr or c h } R Con c e rto fo r Vio lonce llo and O rches t ra, Op. 4 3 (1948) [ 0 :2 8 : 00] {v c s ol o; 3-0- 3- 0, 4- 2- 1- 0, t im p , st r} R Rhapsody on Moldavian Themes, Op. 47/3, arr. E. Nowicka (1949/ 2 011) [ 0 :1 2 : 00] {v l s ol o; s tr orc h } R Tw elve Piece s (Minia tures ) , O p. 29bis (1945-1983) [ 0 :1 7 : 45] {f l s ol o; s tr or c h } R
Vocal Chamber Music Ac acias, Op. 4 six songs o n poe ms by J. Tuw im ( 1940) [ 0 :1 2 : 00] {v oc (med), pno } Old Letters, Op. 77 eight songs on poems by J. Tuw im (1962) [ 0 :1 7 : 00] {s , pno} Th e Token (Pa miatk a), O p. 132 rec it ative a fter E. Sze m plins ka ( 1981) [ 0 :0 7 : 00] {b, pno}
peermusic classical
From t he P o e t r y o f Ty u t ch e v, O p. 2 5 s ix s ongs ( 1 9 4 5 ) [ 0: 15: 00] { v o c ( m e d) , pno } From t he P o e t r y o f P e t รถ f i , O p. 7 0 s ev en s on g s ( 1 9 6 0 ) [ 0: 20: 00] { t , pno } Memories, Op. 62 seven songs on poems by J. Tuwim ( 1957-19 5 8 ) [ 0: 14: 00] { v o c ( m e d) , pno } I n t he A r m e n i a n M o u n t a i n s , O p. 6 5 s ev en s on g s o n p o e m s by H . Tu m a n i a n ( 1959) [ 0: 22: 00] { t , pno } J ew is h S o n g s , O p. 1 3 f irs t cy c l e o n p o e m s by I . L e i b P e re t z ( 1943) [ 0: 13: 35] { v o c ( hi gh) , pno } J ew is h S o n g s , O p. 1 3 f irs t cy c l e o n p o e m s by I . L e i b P e re t z, arr. A . O ra t ows k i ( 1 9 4 3 ) [ 0: 13: 35] { v o c ( hi gh) , v l , v c, pno } J ew is h S o n g s , O p. 1 7 second cycle on poems by S. Halkin (1944) [ 0: 14: 30] { v o c ( hi gh) , pno }
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M i e c z ys ł aw W e i n b e r g J ew ish So ngs, Op. 17 secon d cycle on po ems by S. Halkin, arr. A. Oratowski (1944 ) [ 0 :1 4 : 30] {v oc (hi gh), v l, vc , p n o }
Tript y ch, O p. 9 9 t hree s on g s o n p o e m s by L . S t a f f ( 1 9 6 8 ) [ 0: 09: 00] { b, pno }
Six Children’s Songs, O p. 139 on poems by var ious a ut hors ( 1947-1984) { s, pn o}
L ulling t h e C h i l d , O p. 1 1 0 elev en s o n g s o n p o e m s by G. M i s t ra l ( 1973) [ 0: 30: 00] { s, pno }
Six Songs fr om D ifferent Years , O p. 71 (1940-1972) [ 0 :1 2 : 00] {v oc (med), pno }
Words in B l o o d , O p. 9 0 s ix s ongs o n p o e m s by J. Tu wi m ( 1 9 6 6 ) {t, pno}
Th ree So ngs afte r A. M ickiew ic z , O p. 22 (1945) [ 0 :1 5 : 00] {v oc (hi gh), pno }
The G ips y B i b l e, O p. 5 7 s ev en s o n g s o n p o e m s by J. Tu wi m ( 1 9 5 6 ) [ 0: 21: 00] { m e z , pno }
Th ree So ngs, Op. 7 on poems by A. Prokofi ev and E . R y v ina (1941) [ 0 :0 6 : 00] {v oc (med), pno }
Voc a l M u s i c f or l a r g e i n s t r u m e ntat i o n
Four Songs, Op. 38 on poems by M. Rylsky and G. Nikolaeva (1947) [ 0 :1 0 : 00] {v oc (med), pno } Th ree So ngs, Op. 78 on poems by V. Sosno ra and M . Yas hin (1962-1963) [ 0 :0 9 : 00] {b, pno} O Grey Mist, Op. 84 on a Po em by J. Tuwim ( 1964) [ 0 :0 4 : 00] {b, pno} Profile, Op. 88 fou r Songs o n poe ms by S. Wy godz ki and M. Ryba (1965) [ 0 :1 4 : 00] {b, pno} Th e Singer s of the Pr im eval World, O p. 32 eleg y afte r F. Schiller ( 1946) [ 0 :0 8 : 00] {bar, pno} Six Sha ke spea re So nnet s , O p. 33 ( 1946) [ 0 :1 4 : 00] {b, pno}
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A nna’s S o n g a f t e r J. Tu wi m ( 1 9 7 0 ) {mez, vl, db soli; 2-1-2-2, 0-0-0-0, hp, str} R P iec e t o t h e N a t i o n s ! , O p. 1 4 9 v oc al- s y m p h o n i c p o e m o n wo rd s by S. M ar s h a k ( 1 9 8 8 ) { b c h o ; 4- 3 - 4 - 3 , 6 - 4 - 3 - 1 , t i m p, pe r c ( 3 ) , hp, pno, str} R Hiros him a F i v e - L i n e S t a n z a s , O p. 9 2 on words by M . F u k a g a wa ( 1 9 6 6 ) [ 0: 22: 48] { m x cho ; f l , hp, m a nd, t i m p, p e r c (3), db} R I n M y Ho m e l a n d ( ca n t a t a ) , O p. 5 1 ( 1 9 5 2 ) {b cho, children’s cho, mx cho, symph orch} R J ew is h S o n g s , O p. 1 3 f irs t cy c l e o n p o e m s by I . L e i b P e re t z, arr. V. B a s n e r ( 1 9 4 3 / 1 9 9 3 ) [ 0: 11: 00] { v o c ( hi gh) , hp, pe r c, st r } R A Diar y o f L ov e, O p. 8 7 c ant at a a f t e r S. Wy g o d zk i ( 1 9 6 5 ) [ 0: 15: 00] { t so l o ; b c ho ; 1 - 2 - 0 - 0 , 2 - 0 - 0 - 0 , str} R
peermusic classical
M i e c z ys ł aw W e i n b e r g A Son g by Winnie T he P ooh ( 1969) { voc (med), 2-0-2-1, 0-1- 0- 0, p e r c , g it , db} R Two songs fo r male chorus a c appella on poems by S. Mar shak and A . S harov (1948) Pyot r Pla ksin, Op. 91 c an tata afte r J. Tuwim ( 1966) [ 0 :1 2 : 00] {contr a, t s ol i; 1- 0- 1- 0, 2- 0- 0- 0, p erc, pno/harm, 2 v l , v a , vc , d b } R Req uiem, Op. 96 on poems by var ious a ut hors ( 1965-1967) [ 0 :5 0 : 00] {s s ol o, chi l dre n ’s c h o , m x c h o ; 4-4-0-0, 4-0-0-0, ti mp, p e r c (3), h p s d , h p , p n o, mand, s tr} R Symphony No. 8 ‘Po lish Flow ers ’ , O p. 83 on poems by J. Tuwim ( 1964) [ 0 :4 6 : 00] {t s ol o, mx cho ; 4- 3- 4- 3 s a x- 3, 4-3-3-1, timp, perc (3), hp, 2 pno, org, str} R
Sta g e W o r k s Burattino or The Golden Key, Op. 55 ballet in three acts, 6 scenes with prologue and epilogue (1954 rev. 1961) [ 1: 30: 00] { 3 - 3 - 3 - a sa x - 3 , 4 - 3 - 3 - 1 , t i m p, p e r c (3), 2 hp, st r } R The Madonna and the Soldier, Op. 105 opera in three acts (1970-1971) [ 1: 35: 00] { s, m e z , 3 t , 2 ba r, 2 b so l i ; 3- 3- 3- 3, 4 - 3 - 3 - 1 , t i m p, pe r c ( 3 ) , hp, ce l / p n o , m a n d , a c c, st r } R The Passenger, Op. 97 opera in two acts (1968) [ 2: 22: 00] { 4 s, 2 a , 3 m e z , 2 t , ba r, 3 b , 3 a c to r s, m x c ho ; 3 - 3 - 3 - a sa x - 3 , 6- 4- 3- b a r hr- 1 , t i m p, pe r c ( 3 ) , c e l , pno , g i t , s t r ; s t a g e ba nd: a cc , g i t , pno , pe r c, db} R
Symphony No. 9 ‘Immort al L ines ’ , O p. 93 af t er poe ms by J. Tuwi m and W. Bronie wski (1966-1967) [ 1 :0 0 : 00] {narr, mx cho; 4- 3- 4- 3, 6- 3- 31-t r p ad l i b, 2 ti mp, perc (3), c e l, h p , p n o , h arm, s tr} R Symphony No. 11 ‘T he Fes t iv e’ , O p. 101 on poems by var ious a ut hors ( 1969-1970) [ 0 :5 5 : 00] {mx cho; 4-0- 3- 1, 4- 4- 3- 1, t im p , p erc (3), 2 pno, hp, cel , s t r } R Symphony No. 15 ‘I be liev e in t his eart h’ , Op. 1 19 on poems by M. Dudin ( 1977) [ 0 :4 0 : 00] {s , bar s ol i , wo m e n ’s c h o ; 3-3-3-3, 4-3-3-0, ti mp, p e r c (3), h p , s t r } R Symphony No. 18 ‘War – t here is no word mo re cr uel’, Op. 138 on poems by var ious a ut hors (1964, rev. 1982-84) [ 0 :4 3 : 00] {mx cho; 4-3- 4- 3, 6- 4- 4- 1, t im p , p erc (3), hp, org, bal al ai k a , s t r } R
peermusic classical
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M i e c z ys Ĺ‚ aw W e i n b e r g
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Re ntal Mate r i al (R) (She et m us ic is available v ia y our loc a l m u s i c d e a l e r )
Benelux Alb ersen Ver huur BV Fijn jek ade 160 2521 DS De n Ha ag, Nethe rlands + 3 1 (0)70 3450865 verhuur @a lber sen.nl www.albe rsenve rhuur. nl
Fr a n c e E dit ions M a r i o B o i s BMB 19 r u e d e R o cr oy 75010 Pa r i s , F ra n ce +33 ( 1) 4 2 8 2 1 0 4 6 edit ions @ m a r i o b o i s . f r w w w. m a r i o b o i s . co m
G r eat Britain, Irela nd Fabe r Music Ltd Bloom sbur y Ho use 74-77 Grea t Russell S t reet Lon do n WC1B 3DA, Great B rit ain + 4 4 (0)20 79085310 hire@fabe r music.com www.fabe r music.com
Spa in, P o rt u g a l S eem s a S. A . A lc alá, 7 0 28009 M a d r i d , S p a i n +34 ( 91 ) 5 7 7 0 7 5 1 s eem s a@ s e e m s a . co m w w w. s e e m s a . co m
Israel Mr. Sa muel Le wis 4/4 3 El-Al Stree t Herz lia 46588, Israe l + 9 7 2 (9) 9553017 samle wis@zahav.ne t. il
G r eec e , C y p r u s The A rt b a s s a d o r 13, This s e o s S t re e t 15124 M a r o u s s i , G re e ce +30 ( 21 0 ) 8 0 5 1 7 9 2 inf o@t h e a r t b a s s a d o r. g r w w w. t h e a r t b a s s a d o r. g r
I f y our c ount r y is not lis t ed pleas e co n t a ct : P eer mu s ic C l a s s ic a l G m b H M ühlenkam p 45 22303 Ham burg, G er m an y +49 ( 0) 40 278379 18 inf o@peer m us ic -c las s ic al . d e w w w. peer m us ic - c las s ic al . d e
This catalogue refers to works published by Peermusic Classical. Pictures: © Olga Rakhalskaya; Tommy Persson (p. 14)