SELECTED WORKS: with Type = 'All Works'
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Keyboard
Impromptus for Piano: 23 Events (1973)
Impromptus is both a recollection of piano's past, with a brief quotation of Chopin’s Minute Waltz, and nods to the piano style of Liszt, hymns, and boogie-woogie, and a gentle mockery of the piano recital tradition.
Solos
Riffs for solo Flute (1974)
Weinzweig describes the work as follows: "Riffs for solo flute reflects the characteristics of the “many moods of jazz blues”—the improvised manner within a twelve-bar melodic form, the slow, sad, melancholy feeling interrupted with highly-charged “shouts” and a dialogue of call-and-response patterns coloured by bent pitch inflections. The work is composed in twelve segments of various durations related only the Blues style and a recurring long-tone cadence on a low flute note G."
Voices
Private Collection (1975)
“Private Collection is an open set of songs for soprano voice and piano with lyrics and music by the composer. [..] They are about anything: an experience, an observation or a fleeting impression. Since they are a collection of individual songs, the singer may select any one or more for presentation.”
Solos
Contrasts for Guitar (1976)
While technically straightforward, Contrasts for Guitar poses a musical challenge to the player: with numerous slow, sparse, and often repetitious melodies, each note must be intentional and appropriately expressed. The use of serial techniques and pitch-class sets (a collection of pitches) demonstrates formal details that for the most part cannot be heard. It is the performer’s role to draw out the tonal and motivic relationships and numerous contrasts in tempo, technique, texture, and tone within and across the six sections.
Chamber Ensembles
Pieces of Five: 37 Events (1976, rev. 1991)
Weinzweig describes Pieces of Five as “a series of short-long, fast-slow, soft-loud actions that explore brass timbres and rhythmic interactions in a framework of dialogues.” He allows each performer to shine, but he gives particular emphasis to the tuba. Pieces of Five focuses on the relationship between instruments: for example, Weinzweig frequently indicates “non synchronised,” which creates some indeterminacy in each performance.
Duets
Refrains for Contrabass and Piano (1977)
Weinzweig’s affinity to jazz and blues permeates Refrains, including a call-and-response pattern, alternating major/minor modalities, rhythmic vitality, and swing rhythms. The bassist taps the bass, plays behind the bridge, and uses fists, knuckles, and fingernails to draw out the instrument’s varied timbres.
Solo With Orchestra, Band
Divertimento No. 7 (1979)
Weinzweig describes the work: "Divertimento No. 7 ... extends the traditional treatment of the horn through expanding its rhythmic and timbric potential. The horn (as protagonist) and the strings are assigned separate thematic identities."
Solo With Orchestra, Band
Divertimento No. 8 (1980)
Supported by a full orchestra, the solo tuba engages in dialogues with percussion and piccolo, and establishes varied moods through a solo blues movement, bird-song motives, and a ragtime movement.
Solos
Eighteen Pieces for Guitar (1980)
Eighteen Pieces for Guitar explores sounds and techniques that are idiomatic to the instrument, such as strummed chords, tremolo, and arpeggios. These eighteen pieces allow the performer to explore a range of moods and styles, from the lyrical “Arioso” to the call-and-response and minor thirds of “Manor Road Blues.”
Chamber Ensembles
Variations for Louis Applebaum (1980)
The title refers to Canadian composer Louis Applebaum (1918-2000) who was among the first members of the Canadian League of Composers. He also served as chairman of CAPAC (1965-70) and established the Stratford Music Festival. Variations for Louis Applebaum was premiered by the Canadian Brass on July 3, 1989.