1885-1960
With few apologies, I love Nationalist music. The idea of bringing the folk traditions of one's homeland into the realm of classical music is usually a successful listening venture for me.
Some of it is the exoticism. Musical modes and harmonic/rhythmic traditions which lie outside of my own culture, but bringing it to a medium I can relate to, is a rich experience.
Furthermore, orchestrations can be straight up central European, or composers might bring in instruments or playing styles from their heritage. It is a colorful musical display, but also a source of pride for those who love their country's musical history.
Weiner sits in this musical Nationalist boat, representing his Hungarian roots. Along with Liszt, Bartók, Kodály, and Mátyás Seiber (among some others), each found a way to bring their homeland to the concert hall.
Weiner doesn't have the fame of some of his brethren, I think he was too conservative for the 20th Century, but his music lacks no excitement or worth because of that fact.
My first experience was Weiner's Hungarian Folk Dance Suite, and I was blown away, perhaps due to Neeme Jarvi's explosive handling of the music.
Recordings and reviews currently on hand (Click below to visit):
1997: String Quartets
2000: Hungarian Folk Dance Suite
2004: Violin Concertos
2016: Csongor And Tünde Ballet
2017: Serenade & Divertimento 1-5
2019: Toldi
2020: Romance for cello & Hungarian Nursery Rhymes