SELECTED WORKS: with Type = 'All Works'
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Keyboard
CanOn Stride (1986)
CanOn Stride is built on contrast, from changing metres, sudden dynamic changes, large leaps, and registral shifts. At 132 beats per minute, CanOn Stride is a brief, but exciting musical work.
Voices
In the Arms of Morpheus (1986)
A sparse texture, mostly piano and pianissimo dynamics, and textless soprano solos help create the ethereal imagery of In the Arms of Morpheus: that of succumbing to “weary eyes” and embracing the dream world created by Morpheus, the Greek god of dreams.
Voices
On Wings of Song (1986)
Weinzweig notes in the score: “When birds of a feather get together—bird talk, as overheard by the composer.” Weinzweig assigns various birdsong fragments to each section with one to four seconds of silence between each fragment. These songs are as varied as those found in nature, and are imbued with Weinzweig's humour, such as the birdsong "go away."
Keyboard
Tango for Two (1986)
Weinzweig explains: "Tango for Two is a free interpretation of the popular Argentinian dance style. Beginning tentatively with a widely spaced motive in a setting of sound and silence, the music gradually unfolds into a dialogue between the violent and sensuous, reflecting the male and female dancers."
Voices
What's That? (1986)
The flurry of what Weinzweig calls “a teenage quibbling match in Steinese dialect” flies by in this fast and short piece for a capella mixed chorus.
While What’s That? opens in tutti homorhythm, much of the work alternates female and male voices. Each section sings in a limited melodic range, with more focus on text articulation and dynamics.
Duets
Birthday Notes (1987)
The flute and piano play separately until the final bar where some rhythmic overlap occurs. Birthday Notes allows the flute to show a range of rhythmic, technical, and expressive elements.
Solos
Tremologue for Solo Viola (1987)
Tremologue allows the violist to explore the beauty and warmth of the instrument through the mostly slow and contemplative sections. Weinzweig explains: "The title embodies the central characteristics of the piece—the tremulous tremolo and the dialogue. ... The work is cast in the form of an assemblage of fourteen segments on a succession of contrasting relationships. Yet, by means of a stylistic binding of recurring segments and the tremolo, its seemingly random course may be formed by the listener into a cohesive whole."
Solo With Orchestra, Band
Divertimento No. 10 (1988)
In keeping with Weinzweig’s quest for “true dialogue,” the piano and orchestra maintain two very different approaches: the string orchestra is slow-moving and introspective while the piano is buoyant and gregarious. The piano and orchestra never play together until the final of twelve continuous segments, which ends with a dramatic piano gesture.
Keyboard
Micromotions (1988)
Weinzweig explains that in Micromotion's twenty pieces, “the performer will encounter such stylistic rhythmic actions as swing, blues, and ragtime.”
Keyboard
Three Pieces for Piano (1989)
Three Pieces for Piano displays little lyrical piano writing, but in its place, these three pieces offer a wide expressive range produced by driving rhythms, subtle articulations, and extended technique.