These are the world premiere recordings, originally issued on the Olympia label, of Sonatas Nos. 2, 3, and 4. The touchstone for sonatas for solo cello is obviously Bach’s work in the genre. Weinberg calls upon that tradition and enriches it. It would be safe to consider Feigelson’s performances as definitive.

Feigelson is a fine player, and his is the only recording so far of the first version of Sonata 2 and either version of 4…well played and this is music that can support different interpretations.

To read the complete review, please visit American Record Guide online.

Mieczysław Weinberg’s solo cello sonatas are considerably more interesting than his preludes for the same instrument, which I reviewed here a few months ago. They aren’t a direct response to Bach, but very much Weinberg himself, a voice not far removed from Shostakovich’s, but with occasional added flavors of Jewish melody and jazz.

Born in Poland but living most of his life in Russia, composer Mieczysław Weinberg was as prolific and popular a composer as his contemporaries Shostakovich and Prokofiev. While many Russian artists were revolting against the Soviet regime or leaving the country all together, Weinberg remained with little fanfare. His political decisions may have been in part responsible for the neglect his music has suffered, though many of his works are now being brought to the attention of appreciative listeners. This Naxos album is a reissue of an Olympia CD, the second volume devoted to Weinberg’s works for solo cello. After completing the first volume, cellist Josef Feigelson contacted Weinberg’s widow and successfully revived the three additional solo sonatas heard on this volume and was instrumental in getting them published. The three later sonatas are more technically demanding than the earlier sonata and 24 Preludes, but are still quite musically satisfying. Weinberg’s writing is reminiscent of Kodály in his use of folk materials, and Britten in his use of motivic development and broad harmonic palette. Feigelson’s playing is technically precise and confident, with almost flawless intonation. His sound is clear and focused and he incorporates a pleasing array of tonal colors and dynamic contrast. Most importantly, perhaps, Feigelson has a keen, intimate understanding of Weinberg’s musical intentions and clearly translates this to his listeners, making us all want to hear more of the almost-forgotten Weinberg.