SELECTED WORKS: with Type = 'All Works'
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Quartets
String Quartet No. 3 (1962)
This Quartet is conceived in intimate terms and serves as a memorial to the composer’s mother, who died during the composition of the quartet. Weinzweig stated that it is “a ‘surrealistic’ work ... in that its creation was influenced by the free association literary method of James Joyce. It is a work of shifting moods, fantastic images and considerable unrest and turmoil.”
Chamber Ensembles
Woodwind Quintet (1964)
The Woodwind Quintet demonstrates Weinzweig's interest in both 12-tone compositional technique and jazz elements.
Quartets
Clarinet Quartet (1965)
The Clarinet Quartet combines serialist compositional technique a jazz-swing feel. The work avoids mundane homogeneity by creating individual profiles based on rhythm, intervals, articulation, and dynamics.
Solo With Orchestra, Band
Concerto for Piano and Orchestra (1966)
In this work the solo piano and the orchestra frequently engage in short musical dialogues- this differs dramatically from the longer passages more typically found in piano concertos.
Solo With Orchestra, Band
Concerto for Harp and Chamber Orchestra (1967)
The soloist demonstrates both virtuosity and a sensitivity to the varied tonal qualities of the harp throughout the six sections of this single-movement work.
Solo With Orchestra, Band
Divertimento No. 4 (1968)
This three-movement work is demanding of its soloist, with extreme ranges, extended technique, and contrasting moods.
Orchestra, Band
Dummiyah: Silence (1969)
Dummiyah is the Hebrew word for silence. It is Weinzweig's response to the Holocaust as he believed that silence was the only way he could possibly respond to the horrific event.
Solos
Around the Stage in 25 Minutes During Which a Variety of Instruments Are Struck (1970)
This work requires one performer and sixty percussion instruments. Its original title—Timbres—captures Weinzweig’s goal to explore “the colour spectrum of percussion through the manipulation of beaters and hands on various striking areas of wood, metal, and membrane instruments.”
Voices
Trialogue (1971)
Trialogue for soprano, flute, and piano demonstrates theatricality not only in its use of extended technique but also instructions for movement around the stage and interactions between performers. The fifteen short “events” are varied in their drama and humour, as the soprano sings, whispers, mutters, and even strums the piano strings. The pianist creates clusters with a fist or forearm and both instruments explore their percussive capabilities. The “events” may be performed in any order, excepting the last one, “Sh,” whose exiting instructions necessitate its ultimate position.
Solo With Orchestra, Band
Divertimento No. 6 (1972)
The solo saxophone and string ensemble explore many moods throughout the one-movement, multi-section work whose rhythmic interactions are infused with jazz. The saxophone demonstrates its versatility, particularly with the variety of special techniques, including flutter tonguing, slap tonguing, and quarter tones.