Qinni and Coco, students at the Claude Watson School for the Arts, perform a public premiere of Duo (1999) at the Tribute to John Weinzweig concert held at the CBC's Glenn Gould Studio in Toronto on March 23, 2007. Their performance exhibits the extreme dynamic contrasts and rhythmic subtleties, and demonstrates the "tagging" back and forth as the violins engage in a dialogue.
Hockey Night in Canada - University of Guelph Chamber Singers
2013
Performed at the Centenary Concert on March 8, 2013 in Walter Hall at the University of Toronto. Conductor: Dr. Marta McCarthy
Il MenĂ¹ - Measha Brueggergosman, Jessica Lloyd, John Weinzweig
Produced by Mark Bishop, Matt Hornburg, Mark Lysakowski, with Bravo!FACT/OAC - 1999
The humorous libretto combines pasta ingredients and great composers, such as zucchini, Puccini, spaghetti, and Rossini. A bustling Italian restaurant surrounds Brueggergosman and Lloyd as they sing and Weinzweig as he conducts. Pay close attention to Weinzweig, as his conducting baton is replaced by a zucchini, a celery stalk, and even a baguette.
Interlude in an Artist's Life (excerpt) - Weinzweig Centenary Chamber Strings, Victor Feldbrill (conductor)
2013
The complete work was performed at the Centenary Concert on March 8, 2013 in Walter Hall at the University of Toronto.
Prisoner of Conscience - University of Guelph Chamber Singers
2013
Performed at the Centenary Concert on March 8, 2013 in Walter Hall at the University of Toronto. Conductor: Dr. Marta McCarthy.
Private Collection - Soprano Maghan McPhee and pianist Lucas Wong
2009
Montreal International Voice Competition, recorded live May 2009.
Refrains - James VanDemark (double bass), Serouj Kradjian (piano)
2013
Performed at the Centenary Concert on March 8, 2013 in Walter Hall at the University of Toronto.
Swing Out: Animations and Ruminations on a Double Reed - Eric Mohr
Bassoonist Eric Mohr performs Weinzweig's Swing Out: Animations and Ruminations on a Double Reed (1997), a solo work composed during a period of instrumental chamber music in the 1990s. Like many of those chamber works, Weinzweig emphasizes dialogue, in this case, using a "dialogue" gesture that the bassoon plays to converse with itself.