Weinberg, Vol. 3: String Quartets Nos. 4 and 16

Composer proudly proclaimed himself a disciple of , who reciprocated by saving from one of 's purges. However, as listeners realize that was more than just a clone, his works have been receiving more attention. This release, offering works from the early and late parts of 's career, is part of a complete cycle in progress from the , and the performances thus far have been very strong. The hones in nicely on the differences between and . In the , premiered in early 1945, it is the mood that is most -like, more so than the structure. The work has clear resonances of wartime experiences, and though a Soviet commentator quoted in the booklet likens the finale to recollections of a happy childhood, it is a happiness that dissolves, trying to reconstitute itself through resolute contrapuntal gestures but failing. The downbeat quality reminds one of 's mentor, but the methods of achieving it are different. The , from 1981, is perhaps a less successful work, but it seeks to merge folk and modernist influences in a manner different from anything tried, and listeners' reactions may vary. The captures the essentially Romantic nature of 's music, again different from the often acrid , in fine, long-breathed performances, and throughout, this is chamber playing at a very high level. Further releases in the 's series will be impatiently awaited by listeners who put this one on classical best-seller charts in the spring of 2023. ~ James Manheim