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Mirga Grazinyte-Tyla

Weinberg - Symph 3&7, Flute Concerto No. 1 w/COBSO

Deutsche Grammophon
Release Date: September 16, 2022

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1 Weinberg: Symphony No. 7 in C major, Op. 81 / I. Adagio sostenuto  
2 II. Allegro - Adagio sostenuto  
3 III. Andante  
4 IV. Adagio sostenuto  
5 V. Allegro - Adagio sostenuto  
6 Weinberg: Flute Concerto (No. 1), Op. 75 / I. Allegro  
7 II. Largo  
8 III. Allegro comodo  
9 Weinberg: Symphony No. 3 in B minor, Op. 45 / I. Allegro  
10 II. Allegro giocoso  
11 III. Adagio  
12 IV. Allegro vivace  
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Mirga Gražinyte-Tyla launched her Deutsche Grammophon recording career in 2019 with an album devoted to Mieczyslaw Weinberg’s Symphonies Nos. 2 and 21, released to tie in with the centenary of this neglected composer. Among its many accolades, it was named Gramophone’s Recording of the Year and won Gražinyte-Tyla the Opus Klassik Conductor of the Year award. Now she continues her mission to broaden awareness of the Warsaw-born composer’s music with Weinberg: Symphonies Nos. 3 & 7 and Flute Concerto No. 1. She is joined by The Deutsche Kammerphilharmonie Bremen and soloist Kirill Gerstein for Symphony No. 7, and by the City of Birmingham Symphony Orchestra for the Flute Concerto – with soloist Marie-Christine Zupancic – and Symphony No. 3. The new album will be released digitally and on CD on 16 September 2022. 
The earliest work presented here is the Third Symphony, on which Weinberg began work in 1949. He had settled in Moscow by then, after being displaced by the outbreak of World War Two, during which he lost many of his close relatives. By 1949, however, he had already fallen out of favour with the Stalin régime and the symphony’s planned premiere was cancelled. Having substantially revised the original score, he finally saw it performed in March 1960. A work full of rich contrasts, it incorporates folk tunes from Poland and from Belarus, where Weinberg had studied – whether for purely musical reasons or in an attempt to comply with the official Soviet doctrine of socialist realism – as well as reminiscences of Schubert, Mahler and Weinberg’s friend and champion Shostakovich.

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