SELECTED WORKS: with Type = 'All Works'
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Keyboard
Piano Sonata (1950)
The Piano Sonata is filled with a rhythmic vitality and motivic inventiveness that is sure to challenge the player and enliven an audience. While Weinzweig incorporates serial technique in the Piano Sonata, he is more flexible, allowing for concerns of melodic motives and intervallic relationships to override any strict application.
Orchestra, Band
Round Dance (1950)
Weinzweig recalled in his lecture "The Making of a Composer" that he wrote Round Dance in response to a challenging commission from the CBC; he wrote the piece in less than ten days. The work’s brevity, approachability, and vigour make it an appropriate repertoire choice for school bands or orchestras.
Keyboard
Suite for Piano No. 2 (1950)
The Suite for Piano No. 2 is overall quite dissonant, but recurring motives and tonal centres create a sense of familiarity for the listener. "Berceuse" and "Toccato Dance" are listed as Grades 7-8 in the Canadian Contemporary Music Showcase syllabus.
Voices
Dance of Masada (1951)
The pervasive tonal centre, triadic melodies, and modal cadences of the refrain contrast with the different tonal centres and dialogic texture between piano and voice in alternating sections.
Solo With Orchestra, Band
Concerto for Violin and Orchestra (1951-4)
This was the first of Weinzweig's concertos and a landmark in his career. The orchestration creates a transparent texture, as Weinzweig composes chamber-like groupings and infrequent tutti sections to allow the solo violin to remain prominent.
Voices
Am Yisrael Chai! = Israel Lives (1952)
Israel Lives! includes full, expansive textures and a rhythmic vitality that is characteristic of Weinzweig’s music.
Solo With Orchestra, Band
Wine of Peace: Two Songs for Soprano and Orchestra (1957)
Wine of Peace has a significant solo saxophone line. At the premiere, the saxophone solo was performed by Morris Weinzweig, John Weinzweig's brother.
Orchestra, Band
Symphonic Ode (1958)
This work was a commission from the Saskatoon Symphony Orchestra and catered to its instrumentation. The orchestra did not have a horn section, but it did have saxophones, which is why two alto saxophones are included in the piece.
Solo With Orchestra, Band
Divertimento No. 3 (1960)
Weinzweig, influenced by Benny Goodman and Count Basie, emphasizes jazz and swing elements such as conhesive writing for the solo bassoon, syncopation, blue notes, and quadruple metre.
Solo With Orchestra, Band
Divertimento No. 5 (1961)
The work highlights two soloists—trumpet and trombone—through mostly unaccompanied duet passages or sparse accompaniment, creating a strong contrast in texture and timbre between the soli and tutti sections.