I. Presto
II. Andante sostenuto
III. Allegretto



Mieczyslaw Weinberg, (Moisey Vainberg/ Vaynberg) was a Polish Jew born in Warsaw, Poland, to Jewish parents. He lived in Warsaw until 1939, studying piano and with a promising career ahead as a concert pianist. The invasion of Poland, at the start of World War 2, changed all that and although he got away (just in time) the rest of his family weren't so lucky and were all subsequently murdered by the Nazis. He stayed in Minsk, but had to flee again when the Nazis invaded Russia and Weinberg resettled in Tashkent, Uzbekistan. Things improved for Weinberg when he sent the score of his first symphony to Shostakovich, who enthusiastically invited Weinberg to Moscow, where he lived until his death in 1996. Unfairly dubbed by some as the 'Jewish Shostakovich' his work has never been as popular as his Russian counterpart but the two men struck up a strong relationship and shared prospective scores whilst still remaining in friendly competition. Weinberg wrote prolifically, penning 24 symphonies, 17 string quartets and many other works in a variety of genres.
Whilst Weinberg's 2 earlier quartets are both very interesting pieces, in the 3rd Quartet we first hear the more mature Weinberg of his popular, middle period. For many, he really came into his own after after his move to Moscow, in 1943, when some of his most successful works were produced. By this time the composer was in his mid-20's.
During this productive period, Weinberg wrote his 3rd String Quartet, in 1944. initially mirrors the intensity of the 1st Quartet but there are bigger differences as it progresses. Harmonically it's much more intricately layered and contrapuntally much denser and there's a "wiry intensity" (as Weinberg scholar, Fanning, has noted) to the music.
The 1st movement, is unusually a busy Presto. After an initial, brilliant, opening. quasi-symphonic theme, a move to G-flat for the second theme is equally unusual. In the development there's interaction between both thematic groups, which are combined with a rapid shift
through the keys. These rapid key changes heighten the emotional atmosphere of the movement. In the recapitulation, there's a reprise of the first theme followed by a transition passage and then the second theme restatement. The coda returns to a minor key and features a rising and falling motif. These unorthodox key changes throughout are very interesting and make resolution tricky. What a fine movement this is!
The 2nd movement, Andante Sostenuto, in 5/4 meter has the desolation of Shostakovich but some very Brittenesque music in places. The texture is dominated by declamatory octave triplings, and with the violin motif in a style very similar to the opening of Shostakovich's 4th Quartet (check it out). This movement recalls the expressive mood of it's predecessor, the Op. 13 Jewish Songs.
The 3rd movement is a superb, monothematic Allegretto. This a fascinating, fizzing dancing movement, which later vanishes into thin air. The finale’s thematic material undergoes relatively little development throughout, instead being beautifully structured. The restatement of the first movement’s coda is perhaps Weinberg trying to unite the work across its movements and, for some (not me), the third movement comes across as anti-climatic as questions raised are left unanswered and this may make some feel that it leaves the work somewhat unbalanced. Personally I regret this criticism as love it.
This short quartet (around 20 minutes in duration), which plays without a break, is a beauty and I really enjoy the outer movements. Incidentally, Weinberg reworked the Third Quartet in his Chamber Symphony No. 2, Op.147 (an arrangement for string orchestra and timpani, that has some significant differences).
There are just a trio of at least very good quality recordings to hear and there's very little between them except stylistically, as all are very well recorded.
Upon first hearing the Silesian Quartet's bold reading comes across really well. The recording is very good and I do love the way the quartet attack the outer movements. However, in subsequent hearings and compared to the other two recordings here the Silesian don't colour this piece as wonderfully as the competition, even if they play with absolute authority. This is a still a very fine account and others may prefer their more highly spirited playing. Between the other two performances there's even less as they are both exceptional efforts. The Danel Quartet have recorded all of Weinberg's quartets and they provide a very strong case for being the one to own. Although a bit noisy in the breathing department the Danel are texturally a little more complete than the Silesian Quartet. They hold your attention with a well-paced and vivid reading that has a nice mix of the Silesian's vivacity and the Dudok Quartet's firm textures (see below). They are particularly strong in the opening movement. Similarly the Dudok Quartet give an excellent account of themselves with a thoroughly symphonic approach that works highly effectively. The performance, from their excellent 'Solitude' album, is a highly impressive one. They capture the colour and character of Weinberg's soundworld incredibly well and their violin tone is especially pleasant on the ear. They're admirable in the opening Presto but truly triumph in the middle and final movements. Listen to those wonderfully judged pizzicati in the Allegretto. Because of this it's my marginal top pick here but tbh you can't go wrong with any of these excellent recordings and you need to own at least one recording of this top-rate work. All heavily recommended.