Interview My diary is in my work, my music Weinberg through the eyes of Tommy Persson By Henny van der Groep

or many years Mieczyslaw Weinberg (1919–1996) was one of the more neglected com- Fposers in the Soviet Union. One of the underlying causes was the solitary life he led combined with a reticence to promote his work. Weinberg was a modest human being, and for a long time his skill as composer was over- shadowed by that of Shostakovich, who nonetheless wholly appreciated Weinberg as a colleague and friend. In the past few years the name Wein- berg has at last begun to appear in concert programmes on a regular basis. Tommy Persson, 2017. Photo © Egbert Baars The DSCH Journal had the plea- sure of meeting and discussing with wide range of deeply felt sentiments and he helped me obtain a complete one of the key, yet low profile people and thoughts in an omnipresent, catalogue of Melodiya recordings, a behind the resurgence of interest in pure, humanistic voice. It all began in very thick book issued in 1975. But Weinberg’s music and who, together 1972. I was an admirer of Shostakov- I failed to get hold of any of the LPs with Weinberg’s family, colleagues ich’s music and tried to read anything with recordings of Weinberg’s works and friends has been instrumental written about him, and I bought listed in that book. Among them were in raising the profile of Weinberg’s many of his records. I was really Symphony no. 5 dedicated to and music around the world. This inter- excited to discover the composer performed by Kirill Kondrashin, the view with Tommy Persson took place within the entire universe of music. Flute Concerto no. 1, and the Fourth after the 2017 International Shosta- In 1972 there appeared a book by and Fifth Piano Sonatas. kovich Days in Gohrisch, Germany. Boris Schwarz, Music and Musical Born in 1945, Tommy Persson Life in Soviet Russia 1917–1970. It’s DSCH: What about the Children’s worked as a judge in the Gothenburg now a fairly well-known book and it Notebooks or his songs? District Court in Sweden (1971), was in there I found the name Mois- dealing with all kinds of civil and sei Vainberg (as it was spelled). I had TP: No, none of these works were criminal cases before retiring in 2010. never heard the name nor the music. I in the catalogue, only some of his Tommy has a longstanding passion read he was a talented composer, that orchestral, chamber and instrumen- for Russian music in general although he had composed a lot of music but tal works. I found some second-hand Shostakovich has always taken a spe- that he was more or less unknown in LPs in Great Britain, but they were cial place in his heart. Later he came the West. From Boris Schwarz’s book too expensive. So it took a little more across Weinberg through a book I got the impression that Weinberg time. In December 1976, just before about Russian music, and today might be one of those composers to Christmas, EMI had issued an LP Weinberg’s music is literally a part take over the symphonic music man- with Melodiya recordings of three of his daily life. tle after Shostakovich, and so I tried trumpet concertos, one of them com- to find some recordings of his music. posed by Weinberg in 1966–67. It was DSCH: What does Weinberg’s music played by the Bolshoi Theatre Orches- mean to you and how did you first DSCH: This was in Sweden? tra conducted by Algis Zuraitis; the come in contact with Weinberg’s soloist was the legendary Timofey music? TP: At that time there was a very Dokshitser, to whom Weinberg ded- good record shop in Gothenburg. I icated the concerto. I sent for the LP TP: To my mind Weinberg’s music knew the manager, a friendly man immediately and I was completely has the rare ability to communicate a who was familiar with classical music, fascinated by this concerto.

dsch journal • July 2018 • Nº 49 • 37 My diary is in my work, my music • Henny van der Groep

DSCH: A funny piece of music! listeners could send their request to Symphony Orchestra conducted by have for example a movement of a Vladimir Fedoseyev. In fact, different TP: It’s certainly funny but combined symphony played. I had previously Russian composers had composed with dark undertones. There are quo- written to the radio station in regard music commemorating Shostakov- tations from Mendelssohn’s Wedding of Shostakovich’s music. This time ich. In addition, I received a record March and also a quote from the I asked them to play something by of Weinberg’s First Solo Sonata for Golden Cockerel by Rimsky Korsa- Weinberg. Beforehand I checked with Viola, dedicated to and performed kov. It has a hectic first movement, someone at the gramophone archive by Fyodor Druzhinin. On the other which I think might have inspired of Radio Sweden and learnt that they side of that LP there was a Sonata for Shostakovich when he wrote the first had some LPs with works by Wein- Viola and Piano by a friend of Wein- movement of his Fifteenth Symphony. berg, mostly Melodiya recordings, berg, Grigory Frid. In my view, Frid The excited mood, they have much in some of them issued on the Ameri- is a composer who should be widely common, in my view. can Westminster label. I managed to known in the West—he is so rarely In April 1977 my wife Ann-Chris- get the radio channel to play some of performed. Maria also managed to tine and I went to Paris, where I found the works on these LPs, such as the get hold of some second-hand LPs a wonderful record shop with thou- Fifth Symphony. Then people who with the Kondrashin recordings of sands of LPs. were in charge of this programme the Fifth Symphony and the Violin took notice and they wrote to me to Concerto (which I already had) and DSCH: You recall any specific say how they found this composer the now famous Moldavian Rhapsody recordings? interesting and thanked me for my in the reduction for violin and piano! requests: “It widened the scope of My friend in Leningrad also helped TP: Yes, I found two LPs, both the listeners.” At the end of 1980 my me to get Weinberg’s address. I had Melodiya recordings reissued by wife and I went to Leningrad for a one listened to his music and admired Le Chant du Monde. One had the week stay. I brought with me a list of it over and over again; yet I could Fourth Symphony and the Violin LPs from the Melodiya catalogue and not get enough of it. I discovered Concerto performed by the Mos- went to the big Melodiya record shop that his birthday was on the 8th of cow Philharmonic Orchestra under on Nevsky Prospect, but the shop-as- December, so I thought—write to Kirill Kondrashin with Leonid sistants just shrugged their shoulders: him, why shouldn’t I?! I remember Kogan as soloist. On the other LP “Weinberg? No, no, not heard of him”. when Shostakovich died, on the 9th the then-young Alexander Brussi- And then I got somewhat frustrated of August. I heard about it on Radio lovsky performed works by different and asked, “well do you have any LPs Sweden the next morning. It was an composers, among them Weinberg’s with works by Shostakovich?” They extremely depressing day for me and Second Solo Sonata for Violin, dedi- had only one double-LP, the Lenin- I cried. I felt that the world had lost a cated to Mikhail Fikhtengolts. It was grad (Seventh) Symphony. I spoke great composer. That’s why I decided the same sonata that we heard at this to our guide from Sweden and told that I shouldn’t make the same mis- year’s festival in Gohrisch [2017]: a her how disappointing it would be to take with Weinberg as I had with fascinating piece of music. come home empty handed although I Shostakovich by not writing, telling To me the musical language of the had been in Shostakovich’s native city. him how much his music meant to Fourth Symphony and Violin Con- She said: “Maybe there’s a solution—I me. I knew that Weinberg admired certo was very communicative, in have a friend who lives here with Shostakovich’s music, but I didn’t the same way as I experienced when her father: they are great admirers know about their close friendship, listening to Shostakovich’s music. Of of the Swedish tenor Nicolai Gedda. only that they knew each other and course, I didn’t understand every- Maybe you can exchange some LPs had a clear connection. I bought three thing, but I was struck by this musical with them, Gedda for Weinberg.” LPs with music by Shostakovich, one language. I was extremely happy to The next morning, the last day of our of which included the Thirteenth find a “new” composer. visit, we met a young woman named Symphony, as I had read that Wein- Maria and we exchanged addresses. berg was one of those few people who DSCH: What did you do next? Each of us would seek out LPs— knew about this symphony before from Sweden and from Russia. She its rehearsals began. Weinberg had TP: I tried to find more recordings helped me to get hold of some LPs heard it at Shostakovich’s home in including works by Weinberg, but with music by Weinberg, for example the company of Rostropovich, Galina it was impossible. I next contacted the Twelfth Symphony dedicated to Vishnevskaya, Kondrashin and a few Radio Sweden: at that time Radio the memory of Shostakovich, written others, so I thought that Weinberg Sweden’s Channel Two had a weekly in 1975–76, a most impressive work. might appreciate having a recording programme The New Hour every Sun- This was a live recording from June of it, not least considering that he day at 3 pm, a programme where the 1982 with the Central Radio and TV was Jewish and that I knew he had

38 • July 2018 • Nº 49 • dsch journal Henny van der Groep • My diary is in my work, my music fled Poland following Nazi Germa- from Minsk on a train that took him and wrote English brilliantly. Later ny’s invasion. So, I wrote to Weinberg to Tashkent, a long journey that took on she was to study English at the and congratulated him on his birth- probably about two weeks. Moscow university as a philologist. day. I wrote him just a short letter, a You might say that Anna acted as a few lines, in English, to congratulate DSCH: He married there too? “medium” between Weinberg and me him and to tell him that I loved his and answered all kinds of questions. music and that his music meant much TP: That came later. In 1942 he mar- For example: “What are you compos- to me and that I hoped that he was ried Nataliya Vovsi-Mikhoels. She was ing now?” or “How are you” and so well and so on. the daughter of Solomon Mikhoels, on. I wrote very simple letters and the great Jewish actor and head of the received such warm replies! DSCH: And the year was? Jewish Theatre in Moscow. DSCH: Did you discuss his works? TP: This was 1984, in December. And DSCH: Back to your trip in 1988. two weeks later I received a telegram TP: I only asked about his more from Weinberg. A very friendly one TP: We went from Helsinki by train recent projects. It was not until 1995 in which he thanked me for the LPs via Leningrad to Moscow. From Mos- that I finally got hold of a full list of and the congratulations and in return cow we flew down to Tashkent. We Weinberg’s vast opus. Up to then he sent me his best wishes, transliter- stayed there for four days. On one this task had been very difficult, with ated from the Cyrillic. evening we went to the Opera House, only information found on Melodiya where we saw a performance of Glazu- sleeve-notes as well as poorly managed DSCH: I guess you still have that nov’s ballet Raymonda. I knew that lists in libraries and encyclopaedias. document! Weinberg had worked at the Opera So much so that I was only aware of as a choir repetiteur during the war eleven string quartets, nine sympho- TP: Oh yes, yes of course! However, and simply knowing that provoked nies and a few more pieces: mostly I don’t think I wrote back for sev- a special feeling while I was in that chamber works. eral months as I was concerned not building. Now that I had his phone number to bother him. I just wanted him to After that we went to Samarkand I began to call Weinberg, although understand that even in this strange where I fell extremely ill; in Swe- back in 1988 it was very expensive to northern country known as Sweden den it’s called red fever [endemic place a call to Russia from Sweden. there was somebody who liked his typhus]. From Samarkand we flew Therefore I had to try to keep the music. Hopefully it meant something back to Moscow where we stayed one phone calls rather short, at around six to him, I thought. Some months later night in the Hotel Kosmos, a very or seven minutes. But whatever the I did write Weinberg another letter, strange place. That night in Octo- cost, it was worth it because we could telling him about some other LPs with ber, although I had a severe fever, I hear each other’s voices. I remember his works that I had received from my phoned Weinberg for the first time. once when I called to congratulate friend in Leningrad, and after that I This was made possible thanks to a Weinberg on his birthday (I was able always wrote congratulating him on professor in Russian who had been on to do so in Russian). I also asked his birthday. In 1988 my wife and I our tour and who had been working how he was doing, and he answered: were on a tour to Uzbekistan. At that in Moscow for several years teach- “Rabotayu”, i.e. “I am working.” Many time I knew that Weinberg had been ing Swedish; she had managed to years later I learned from his widow, there during the War. find Weinberg’s telephone number Olga Rakhalskaya, that he worked for me. Anna, Weinberg’s daughter, twenty-four hours a day. She told DSCH: In Tashkent…. who was born in 1971, answered and me that even when he was sleeping, we had a wonderful conversation his fingers moved like he was playing TP: Yes, he was exiled there, thus for some twenty minutes, and she piano. Music and composing were in escaping the Nazis. He was actually said “oh, couldn’t you come over!”, his mind all the time. in Minsk between 1939 and 1941, and but that was impossible because of then in June 1941 came the attack my illness. I had written all of my DSCH: And then you discovered he on the Soviet Union. Weinberg had letters to Weinberg in English as I was ill? to flee, although according to his did not know any Russian. I didn’t personal documents Weinberg was want to write in German as I thought TP: That came later. In 1990 I went not allowed to leave Minsk; this was it improper because I knew that his to Leningrad to visit the friend who something I learned about much later. parents and sister had been murdered had helped me to find LPs with Wein- But his fellow composer Aleksey Klu- by the Nazis and that he himself berg’s works; I intended to stay there mov helped Weinberg to get forged had been forced to flee his native for only a few days. Before I left for documents so that he was able to flee Poland. Thank heaven Anna spoke Russia I foolishly wrote to Weinberg

dsch journal • July 2018 • Nº 49 • 39 My diary is in my work, my music • Henny van der Groep asking him if it was possible for him need of medicine for his illness but was a person I had seen on a photo: to come to Leningrad from Moscow couldn’t afford it as he was without any Jansug Kakhidze. He was there to during my stay. The Russian postal income due to that he wasn’t able to obtain a cable that he probably could service was not very reliable at that compose any longer; such medicine not get hold of in his home town of time and, as it turned out afterwards, was extremely expensive in Russia and Tbilisi. He was chief conductor of the the letter didn’t arrive in Moscow until could only be bought with dollars. I State Symphony Orchestra of Geor- after I had left Leningrad; in any event had a friend, a doctor, and I asked gia. I think he had premiered all or Weinberg said he couldn’t possibly her to prescribe medicine for me for most of Giya Kancheli’s symphonies have come. He and his family then Crohn’s disease. That’s what she did. I and some of them were dedicated asked me to come to Moscow to visit bought this expensive medicine at the to him. It was about twenty minutes them, which I found so difficult to pharmacy and Maria took it with her before closing time and I went up to imagine—what should I do there, I’m to Leningrad, promising that a friend him and said in English, “Excuse me, not a musician! Then I fell ill, in 1991, of hers, who quite often travelled to are you perhaps Jansug Kakhidze?” having ruptured my back. The whole Moscow, would take it to Weinberg’s “Yes”, he said and then I told him summer holidays (five weeks) I had apartment at Studentcheskaya Ulitsa. that I was a great admirer of Shosta- to stay in bed. I could not move and Not long afterwards Anna told me kovich and that I had bought tickets when I tried to go to work in August that her father had been getting bet- for three of the four performances of I had to return home after two days. ter thanks to the medicine I had sent Katerina Ismailova. And I also told I was unable to work for the rest of him. This was in autumn 1993. In May him that I was keeping in contact 1991 and I had surgery at the end of 1994, Anna informed me that, thanks with Weinberg, who was friendly January 1992. After that there was a again to this medicine, her father’s with Shostakovich. He had heard the long rehabilitation period because by health had improved even more, so name, he said. After that I invited him then I had lost all the use of a variety that he had been able to leave his bed to come to our home one evening to of muscles. It was a very tough time, briefly and sit in a wheelchair at the have a talk and have a supper together. not until the end of April did I start piano, where he had completed his I picked him up at the hotel by car to work for 25% of the day although new symphony. That was his twen- and we had a lovely evening. The next by June I was back full time. I did not ty-second symphony, but only in day I called Per Skans—then still a even dare to think of going abroad piano score, as he was not yet able to producer at Radio Sweden in Stock- that year. In 1993 work at the court orchestrate it. 1994 was an important holm—because I knew that he had was very busy – I worked never less year for Weinberg. In January, the been specialising in the music of the than 55 or 60 hours a week. British record label Olympia began Soviet Union for many years; a sub- issuing a series of CDs with works ject in which I had of course a great DSCH: What happened next? by Weinberg. The first CD contained interest. And Per said: “What do you his Sixth Symphony together with the mean, Kakhidze is in Gothenburg?” TP: Early in 1993, Anna asked me Tenth. The Sixth was dedicated to his He did not know that the conductor over the phone: ‘Can’t you at least oldest daughter Victoria, living in Tel was there to conduct Shostakovich’s come to father’s seventy fifth birth- Aviv at that time, and the Tenth to opera. Unfortunately, Per could not day’ (in December 1994). And of Rudolf Barshai. Immediately I con- come to any of the performances, but course, I couldn’t resist that, I had to tacted Olympia and explained that I I did give him the telephone num- go! By then I knew he was not well, was in touch with Weinberg and they ber of the hotel where the conductor although I didn’t have any specific thought that was fantastic. As soon as was staying. Per called him and they information about his health. In the the first CD appeared I made contact spoke about a lot of things. It turned summer of 1993 our friend Maria with Per Skans, who had written the out that Per had met him in Tbilisi from Leningrad and her son visited CD booklet notes and with whom I in 1975 or 1976. Per had been on a us for five weeks in Sweden. And at had been in contact since 1988. He trip with two other colleagues in the the end of her visit I asked her ‘please, was later to write all but one of the Soviet Union. Per loved Georgia and let’s call Weinberg, you speak Russian booklet notes for the 17 CDs dedi- spoke very warmly about their visit. and try to find out exactly how he is.’ cated to Weinberg’s music. Anyhow, in 1994, I finally decided And then Anna explained that her Before I go on I have to mention a to accept the invitation to go to Mos- father suffered severely from Crohn’s story concerning the Georgian con- cow to stay with Weinberg and his disease, which he had had for several ductor Jansug Kakhidze. In 1988 he family for five days. In the meanwhile, years. Furthermore, in Autumn 1992, was invited by the Gothenburg Opera Olympia had issued their first two he had fallen in his apartment and to conduct four performances of Weinberg CDs and two more were broken his hip and since then he had Shostakovich’s opera Katerina Ismai- on their way, which I received just a been forced to lie in his bed. Maria lova. I happened to be in a record shop few days before I went to Moscow. I also was told that Weinberg was in which I visited often, and in the shop took several CDs to Weinberg; Jackie

40 • July 2018 • Nº 49 • dsch journal Henny van der Groep • My diary is in my work, my music

Campbell from Olympia had previ- First Symphony, which he had com- performed although he considered it ously told me that if they sent them pleted in February 1943 in Tashkent, as his most important work. directly to Weinberg, then he would to the Red Army. He had managed to I was met with the greatest hospital- have to pay a large customs fee, which send the manuscript to Shostakovich ity and warmest friendship, although he couldn’t afford. So we decided that later that year. It is not quite clear Weinberg, due to his illness, had been I should take copies of the two latest who took it to Moscow: his fellow without any income for two years. released CDs (volumes 3 and 4 in composer Yuri Levitin, a pupil of They really were all so exceptionally Olympia’s Weinberg series). One of Shostakovich’s, or his father-in-law, friendly. We could speak about any them included the Twelfth String Solomon Mikhoels. Early in 1943 topic and Olga replied to all my ques- Quartet and more important still, the Mikhoels had travelled from Tash- tions. As she did not speak English, 1963 recording of the Piano Quintet kent to Moscow. In May, he and the but had studied French like Wein- with Weinberg himself at the piano, poet Itsik Fefer, as representatives of berg’s daughter Victoria, we used an with the Borodin Quartet. the Jewish Anti-Fascist Committee ‘international language’: some French I arrived at the family’s apartment of the USSR, went on a seven-month and a few Russian words that I knew on 7 December 1994. Anna opened trip to the United States and England together with a great number of hand the door and welcomed me, and she to raise money and political support signs. Olga showed me all of the fam- said, “Father is sleeping in his study, for the Soviet war effort. ily photos of Weinberg, of her parents so you can see him later.” At that By the way, did you know that the and so on. And if Anna and Olga moment Olga was at the church help- First Symphony by Weinberg has the didn’t know they would ask Weinberg ing “old sick people” and returned same opus number as Shostakovich’s for an answer. home a little later. The welcome First Symphony, opus 10? We listened together to the CDs was extremely friendly: it was really Shostakovich had heard about that I had taken with me. touching. Sometime after I arrived I Weinberg and wanted to know more was invited into Weinberg’s study to about the composer. Shostakovich DSCH: And did he enjoy this? say hello to him. I had brought him liked the symphony and arranged that a gift for his 75th birthday: a large Weinberg and his wife (daughter of TP: Oh yes, it was fantastic, not least beautiful vase and a big bunch of Mikhoels) could settle in Moscow; while we were listening to the Piano flowers. Anna and Olga told me that this was in August 1943, and he met Quintet recording with himself as pia- I should stay in Weinberg’s room for Weinberg for the first time in October nist. This work was written in 1944. no more than around 30 minutes at 1943. I think I am right that Wein- To me it is a very arresting piece, in a time. Then he ought to rest. Wein- berg’s daughter Victoria was born in which there seems to be a great deal berg was in a worse state than I had October 1943. If so, Weinberg’s wife of what he had experienced during imagined. He was lying in his bed must have been pregnant during the the war. and was very thin, had a beard but his journey to Moscow. Perhaps it was I have to mention another thing. eyes seemed young and active. Sad to one of the reasons why they went to On his 75th birthday there were no say that Weinberg could not control Moscow, it was a safer place. Later I performances of Weinberg’s works his hands, they were shaking, which learnt that Weinberg was often very in Moscow, in spite of the fact he had made composing difficult. Beside him ill (stomach issues) when he was in written so much music and that he he had a telephone. In the next room Tashkent. Olga told me that there is a had been an important figure in the there was another telephone. “When possibility that he contracted Crohn’s musical life of Moscow (especially father wants something, he lifts the disease already there. In addition, in the 1960s and 70s but in a lesser telephone and puts it back”, Anna from a young age Weinberg had also degree in the 1980s). Of course, this said. When they heard a ‘pling’ in suffered from tuberculosis in his back, neglect saddened Weinberg. How- the other room, they knew he needed and for many, many years this caused ever, on his birthday many people something. him much pain. Backache, broken telephoned to congratulate him, a I found it rather difficult to ask hip, Crohn’s disease and neglected proof that there were still those who Weinberg questions such as, for exam- by the musical world—his situation hadn’t ‘forgotten’ the composer. In ple, “Were you ever persecuted in this was so tragic in 1994. the afternoon the then young con- country’” because I knew that he con- Anyhow, while I was there (for five ductor Alexander Vedernikov, who sidered that his life had been saved days) we spoke about his works and so some years later became Chief con- when he was allowed to enter the on. I asked him questions such as “If ductor of the Bolshoi Theatre, arrived Soviet Union. Many other Jews flee- you single out just one composition— at Weinberg’s apartment. He brought ing eastwards from Poland were sent which would you consider your most with him a cassette tape, as a gift, of back to the Nazis or were transported important?” And he immediately a live recording of Weinberg’s most directly to the Gulag camps. And I replied: “The opera The Passenger.” recent completed work, his Chamber also knew that he had dedicated his He told me that it had not yet been Symphony no.4 [1992]. In November

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1994 Alexander Vedernikov had con- He happened to date it “11.8.1994” engineering. Furthermore, Tomas had ducted the premiere of this piece at instead of 11.12.1994. And that is the spoken to a pianist, Ingemar Hed- the Moscow Autumn Festival. most precious item I own! vall, who was willing to take the role During my visit we listened to it of producer of this project. Olympia together, with Weinberg lying in his DSCH: You told me that Weinberg immediately accepted the idea. There- bed carefully reading the score, which spoke fluently Polish with the official after, I went to the Gothenburg High was really fascinating. At that time I from the embassy—amazing after School of Music and Drama, which had never heard (or known of) the such a long time! recently had been established in a work and I was struck by this impres- new building. Their Ensemble Hall sive and heartfelt music. In the very TP: Olga told me that he was very had nice acoustics, and I came to an finale it is as if life is passing away. I happy to speak Polish and I learned agreement with their managers for understood that when he had writ- from other people that he spoke Polish a price to rent the hall for a week- ten this work he felt that his life was extremely beautifully. He never lost end. The costs were some thousand nearing its end. his memories of Poland and he had Swedish crowns (equivalent of a few Later, on 8 December at about a very significant amount of Polish hundred Euros). Meanwhile Jackie 5 p.m., an official from the Polish literature at home. When Weinberg Campbell, the manager of Olympia, embassy in Moscow arrived at the was arrested in February 1953, he stayed with my wife and me and I took apartment and bestowed the Pol- asked the interrogator what he was care of Murray McLachlan’s costs for ish Distinguished Culture Service accused of. The answer was “Jew- the flight and hotel. Everyone arrived Award on Weinberg. They were alone ish bourgeois nationalism” with the on Thursday 7 November 1996, and in his study for a little more than intention to establish a Jewish republic we recorded the six piano sonatas as an hour speaking about Polish cul- in Crimea. Weinberg then said that it well as 17 of the 21 Easy Pieces for tural matters. Somewhat later that rather ought to be Polish bourgeois piano, op. 34, during the weekend. evening Olga, Anna and I together nationalism, as he didn’t know a single Tomas Svensson and Ingemar Hed- with the librettist Alexander Med- letter of Yiddish but had two thousand vall worked free of charge. We all vedev [the writer of the librettos for Polish books at home! considered that if we didn’t make this four of Weinberg’s operas], his wife Before I left Moscow, I told Wein- recording, then nobody else would. Olga, and the musicologist Lyudmila berg about an agreement made And so these were the first Weinberg Nikitina, who in 1972 had written between Olympia and the Scottish CDs released by Olympia for which a dissertation on Weinberg’s sym- pianist Murray McLachlan to record I was ‘responsible’. On Sunday 10 phonies nos. 1–10, had a wonderful all of Weinberg’s six piano sonatas on November, McLachlan gave a recital supper celebrating the composer’s two CDs. McLachlan had discovered at which he played, besides works by birthday. Unfortunately, Weinberg the scores of the first three sonatas in a three other composers, Weinberg’s was unable to leave his bed due to his shop in Great Britain a couple of years Second Piano Sonata, which must poor health. Both Alexander Medve- previously, but he had been unable have been its Western premiere. It dev and Lyudmila Nikitina were very to find the remaining three sonatas took place in Särö, some 20 km south kind people and provided me with anywhere. Weinberg said I should of Gothenburg, at the request of a a great deal of information about ask Victoria for the scores, but when musical society. And it’s worth noting Weinberg’s works. On the next day I contacted her, she informed me that that the sonata by this then unknown Irina Antonovna Shostakovich, who she didn’t have them. Finally, they composer from Russia was much had informed Olga in advance that were found at the Composers’ Union appreciated by the audience! A few she could not visit on 8th December, in Moscow, from which copies were days before the concert I was told came to congratulate Weinberg. As ordered. The intention was to make by the members of the Gothenburg a great admirer of Shostakovich’s the recordings in the UK, but at this Quartet that they were interested in music, I was, of course, very happy time, in 1995, Olympia had major recording some of Weinberg’s String to meet her. financial problems and could no lon- Quartets. Also in attendance at Mur- On the morning of 11 Decem- ger finance the project. Meanwhile ray McLachlan’s concert was a violinist ber, when the time came for me to Weinberg became seriously ill. I sug- from the Gothenburg Symphony return home, Anna told me: “Father gested to Olympia that the recording Orchestra (GSO), Thord Svedlund, has something that he will give you.” might be made in Gothenburg instead also a conductor, and he was already And a few minutes later we went into of the UK and that I was prepared to somewhat familiar with Weinberg’s his room and he gave me a sheet of cover the costs. A good friend of mine, music. Since then we became close paper on which he had written the Tomas Svensson, who owned a HiFi friends and have been working hard first bars of his latest work, the Sym- shop in Gothenburg and had previ- to promote and record music by Wein- phony no. 22. At the top of it he had ously made very good recordings, berg. Thord is a strong believer in written a friendly message to me. said that he would manage the sound Weinberg’s music and has recorded

42 • July 2018 • Nº 49 • dsch journal Henny van der Groep • My diary is in my work, my music

At Weinberg’s (and his mother-in law’s) grave at the Domodedovo Cemetery outside of Moscow on his 80th birthday, on 8 December 1999. From left to right: unidentified, Olga Rakhalskaya, Tommy Persson and Anna Weinberg. © Tommy Persson

dsch journal • July 2018 • Nº 49 • 43 My diary is in my work, my music • Henny van der Groep more orchestral works by Weinberg a CD and we asked Olga to choose time we didn’t know exactly the total than any other conductor, issued on which quartets to record. She chose duration, equating to one or two CDs. five CDs by Chandos (plus the two the First, Tenth (dedicated to Olga) When the recordings were edited, it CDs issued by Olympia). and Seventeenth String Quartets, thus turned out that there was more music Alas, Weinberg had passed away in spanning almost fifty years of Wein- than could fit on one CD. We there- February 1996, but at least he knew berg’s creative output, which in all fore decided that we had to make that we planned to record his piano extended over six decades. Again, I another recording, this time of the sonatas, though not in Great Britain took care of the financing of the CD Second Symphony. It was recorded but in Sweden. and the recording was made in spring in Umeå in October 1998. We were After Weinberg’s death I spoke with 1997, in a church some 60 km east of pleased as we felt we had managed to Per Skans, who then still worked at Gothenburg. do something of importance… “world Radio Sweden, “You must do a pro- With my new acquaintance Thord premiere recordings” of four of Wein- gramme about Weinberg”, I told him. Svedlund, we decided to look for a berg’s orchestral works, which were “He has just passed away and now we way of recording orchestral works by issued in 1998 and 1999, respectively must do something before he is totally Weinberg, with Thord as conductor. on two CDs (volumes nos. 15 and 16 forgotten.” He liked the idea but said, But for this we first needed to get of Olympia’s Weinberg series). “Why don’t you do it yourself?” I hold of scores and parts and find an I remained in close contact with refused and Per then mentioned that orchestra to record the pieces! Thord Olympia from 1994. Together we perhaps the radio producer of ‘The had been conducting a number of investigated recordings of Weinberg’s New Hour’ programme, the composer Swedish orchestras, and after several works that existed for example at Folke Rabe, would be interested in months work he eventually managed the Russian State Radio. I was acting making a programme about Wein- to reach an agreement with the Umeå more or less as a consult on Wein- berg. But when I contacted him he Symphony Orchestra to record four berg’s music for Olympia. And in the also suggested I make the programme Weinberg works; the Chamber Sym- meantime, Per Skans wrote the book- myself. At first, I refused as I had no phonies nos. 1, 2 and 4 as well as the let notes for every new CD release, experience of such things, but finally Symphony no. 2, written in 1945–46. although Per only had material that I accepted the idea. Rabe advised me With the help of Olga and Anna we was to be found in books and dictio- to contact the producer who was in made contact with the Composers’ naries. Of course, when Weinberg was charge of the music section of Radio Union in Moscow to try to obtain still alive I was able to ask him about Sweden in Gothenburg. This man musical material for the recordings, details concerning different works found the programme idea fascinat- and with the help of a Russian man and noted whatever information he ing. By the end of May I had finished living in Stockholm, whom Per Skans was able to give. After his death Anna my manuscript and chosen six short knew, we finally managed to buy and Olga provided much information, musical examples from some of Wein- scores and parts for several works such as the dates and places of com- berg’s works. I gave the programme, from the Composers’ Union and the positions as well as the dedicatees of lasting 30 minutes, the title “Moissey House of Composers in Moscow. some of Weinberg’s works. Vainberg or Mieczyslaw Weinberg – For the three Chamber Symphonies After Weinberg’s death, conditions the Life of a Composer in the vicinity there were no orchestral parts to be were difficult for Olga and Anna. They of Shostakovich.” In the programme found. In the end Anna arranged for had no income. Olga devoted most I tried to give a summary sketch of the parts to be written out by hand, of her time to the church, helping his life and works. It was broadcast with a friend producing the final print old and sick people; she was a kind on 7th June 1996, and re-broadcast version, for a substantial fee. We had of “church nurse.” Anna was busy five days later. a deadline by which the musicians finishing her studies at the univer- As I said, I had been in contact in Umeå needed to have the parts in sity, but she sometimes took a job as with the Gothenburg String Quar- order to have time enough to study translator or taught people Russian at tet, three of whom were members of them. There were some delays, given the American Embassy. At times she the Gothenburg Symphony Orches- the huge work involved in writing even had some private pupils. During tra, with the viola player a member out all those parts, but at last they my visit in Moscow in 1994 I learnt of the Gothenburg Opera Orches- arrived in Umeå and Thord, myself, that Olga was not in a good health, tra. I had told the Quartet members a producer, and a sound engineer as she suffered from bronchitis and that Weinberg had composed sev- from Gothenburg went to Umeå, asthma and regularly needed medi- enteen string quartets, that none of where we installed the sound equip- cine. Luckily, Thord’s wife is a doctor them were recorded and I asked if ment in the great hall of Strömbäck and prescribed medicines for me, they might perform some of them. Folk High School. There we made which I sent to Olga in boxes together Together with Olympia we decided the recording of Chamber Sympho- with other things that Olga and Anna that three string quartets would fill nies 1, 2, and 4 in May 1998. At that liked to have. I was just happy to do

44 • July 2018 • Nº 49 • dsch journal Henny van der Groep • My diary is in my work, my music something for them because they had Unfortunately, this was to be the last All the same, this was a far cry from treated me like a member of their fam- CD in the series as Olympia went out what was needed for a biography. ily. And the only thing I had done was of business soon after it was released Another difficulty was that Weinberg to admire this composer’s music and in the year 2000; this was a great pity, left no diaries and, like Shostakov- tell him how much it meant to me. given Olympia’s valuable catalogue ich, seldom wrote or spoke about his Together with Per Skans I tried to often featuring interesting music per- music. Instead Weinberg would say help Olga to find a publisher in the formed by outstanding musicians. “My diary is in my work, my music.” West to allow Weinberg’s works to be In the late 1990s the Polish con- There are frustratingly few papers by available to a wider performing pub- ductor Gabriel Chmura contacted him on his works and life. lic. Per had been in contact with the me. I helped him to get copies of all pianist Jascha Nemtsov, who I believe the Weinberg CDs issued by Olympia. DSCH: Now we understand why it had suggested that Peermusic in Ham- One of the works that he wanted to took Per such a long time to pull burg might be interested in publishing perform was the Eighth Symphony, things together! Weinberg’s music. In the Soviet era Flowers of Poland, to words by Wein- some of Weinberg’s more prominent berg’s favourite poet Julian Tuwim, TP: Yes, and when Per passed away works had been published by Sikor- written in 1964. Chmura managed in January 2007 he had done a great ski Musikverlage in Hamburg, which to interest the Warsaw Philharmonic deal of research work, but this was even today holds certain publishing Orchestra and Choir in performing still very far from what you might rights. It was however important to the work. He conducted the sym- call a complete biography. When he find a publisher interested in work- phony in Warsaw on 3 and 4 March went into hospital, because of his ing with as much of Weinberg’s vast 2000, of which the first performance heart condition, Per sent me a copy oeuvre as possible in order to make was broadcast live on Polish Radio. of all the material that he had on a his music truly widely known and to It marked the Polish premiere of this CD. His wife had a copy also. Martin encourage performance. At that time work. My wife and I went to Warsaw Anderson was made aware of what Reinhard Flender was in charge of the and invited Anna and Olga to join Per had done, and it was his Toccata classical department of Peermusic in us. Together we attended the two Press that was engaged to publish Hamburg: we jointly spoke to Olga concerts and the general rehearsal the biography once completed. Later, and eventually she decided to sign of the symphony. We also took long Martin contacted David Fanning to an agreement with the company on walks in Warsaw and found the house ask if he would take over the project a composition by composition basis. where Weinberg had lived before he that Per had begun. Fanning is of During the Soviet era all royal- had to flee his beloved native city. It course not only an expert on Shosta- ties drawn from Weinberg’s works was a most memorable experience kovich’s music and Soviet music in were paid to the Composers’ Union, for all of us. Chmura has contin- general but had for long also been while Weinberg himself was hardly ued to champion Weinberg’s music profoundly interested in Weinberg’s paid at all. But of course, as a com- and has made recordings of his music. Finally, David decided to take poser he had privileges such as a orchestral works, issued on three CDs over the task to complete the biogra- good flat, access to special shops and by Chandos. phy after he had visited Per’s widow could enjoy holidays at dachas. On Right after Weinberg’s death I told in Uppsala, Sweden, where he was the final day of my stay with Wein- Per “you must write his biography” able to see just what material Per had berg I promised that I would do all and he accepted, although he was left behind. This was in August 2008. I could to promote his music. I am aware of the difficulty of the task. David has devoted a huge amount not a musician, I can’t play anything, For example, he needed to get hold of work to the completion of the biog- but I can do my best to get his music of as many scores as possible, and raphy, joined by his wife, Michelle performed and interest musicians in almost all of them were inaccessible Assay. Along the ‘journey’ I have his works, including getting as many outside of Russia. Only Sikorski had tried to assist them in their work by of the works recorded and issued on published some of the works in the checking facts and so on. Just as I CD as possible. I have had a role in West (Peermusic only began pub- had done while David was writing a six of the 17 CDs issued in Olympia’s lishing his works a few years later). shorter biographical book on Wein- Weinberg series. The final CD in the Sikorski had scores of some of the berg, Mieczyslaw Weinberg: In Search series with which I was involved was composer’s important works, some of Freedom, for the Bregenz Festival a recording of the String Quartets of which Per was allowed to borrow in 2010. I am so pleased if my efforts nos. 7, 8, and 9, performed by the to study. In addition, I provided Per in some way or other have helped the then young Russian ensemble, The with copies of the scores that Thord process of completing the Weinberg Dominant Quartet, which was pro- Svedlund and I possessed, which we biography, which is planned to be moted by the great cellist Valentin had received from Olga and Anna or published in good time before the Berlinsky, a close friend of Weinberg. bought from the Composers’ Union. Weinberg centenary, in 2019.

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