Mieczyslaw Weinberg was a Polish Jew who had to exist somewhat on the run from the Nazis and, later, the Stalin regime nearly his entire career. That plus having to adopt the name 'Moisey Vainberg' due to bureaucratic errors kept him unjustly unknown for a long time. An additional factor was that Weinberg's music never developed the sarcastic, modernistic "bite" that some of his colleagues found palatable to western orchestras; such as Shostakovich, for example. It was Shostakovich, in fact, who took a fondness for Weinberg's music and helped to promote it. Now, nearly twenty years after Weinberg's death, his symphonic output, in particular, is becoming deservedly better known. The connection to Shostakovich could not be more overt than in Weinberg's Symphony #12 written "In memorium (of) D. Shostakovich" in 1976, shortly after Shostakovich's death. This is a big, bold work that might remind some of the symphonies of Shostakovich in its occasionally strident harmonies and bursts of brass and percussion. I thought the third movement, Adagio, was particularly poignant and captivating. I have not heard all of Weinberg's symphonies but this is a very impressive and important work. Another aspect of Weinberg's career that somewhat echoes his mentor is in ballet scores, such as "The Golden Key." The suite heard here is from the work written in 1954 on a story by Tolstoy. Like many Russian poems and stories there is a use of animal figures to depict, somewhat sarcastically, human archetypes and more than a little social commentary. The music from the suite is lighter and certainly more dance-like than that in the weighty symphony, of course. There are some genuinely delightful and pointy numbers featuring terrific woodwind solos. I thought the "Dance of the Cat and the Fox" illustrates the mood well. Ultimately, Weinberg is an important 'secondary' twentieth-century composer whose music deserves to be played and heard. Kudos to Naxos for this latest installment in a vital series.