List of works || SELECTED WORKS

SELECTED WORKS: with Type = 'All Works'

Solo With Orchestra, Band

Divertimento No. 11 (1990)

The work is an extended movement of 6 interconnected sections that extends the sonic voice of the English Horn beyond its traditional temperament: the dramatic, playful, a touch of blues, as well as a seldom revealed virtuosity.

Keyboard

Duologue for Two Pianos (1990)

Weinzweig focuses on a set of five dialogues, which are separated by contrasting sections whose rhythmic vigour displays the pervasive influence of swing in his oeuvre.

Chamber Ensembles

Jammin` (1991)

"Jammin'" is Weinzweig's contribution to the collaborative suite, Celebration.

Solos

Riffs II (1991)

Riffs II consists of five segments. The trombone explores timbral subtleties, not only through the use of mutes, but also indications for cracked tone, hand pops on the mouthpiece, and varied vibrato. Dynamics and articulations of each note have been carefully and precisely notated; such detail requires great attention by the player.

Voices

Prime Time (1991, revised in 1996)

Text fragments invoke the deluge of media as one clicks the television remote; the performers can replace certain names and references with more timely ones. The two voices and two instruments are used in various combinations, as duets, trios, and quartets. To expand the timbral variety of the four performers, the flutist doubles on piccolo and the bass clarinetist on B-flat clarinet; the flute and bass clarinet use extended technique, including multiphonics, singing while playing, and slap tongue.

Prime Time includes many characteristic traits of Weinzweig's output: brief “events” as opposed to large-scale movements; short ostinato figures; alternating major and minor thirds (evidence of the influence of blues); and dialogic textures.

Solos

Belaria (1992)

This “beautiful song” was composed to demonstrate the expressive qualities of the unaccompanied violin. Harmonics, double stops, sul tasto, pizzicato, and mutes create a compelling timbral variety.

Solos

Riffs III (1992)

Riffs III consists of six segments that exhibit textural and timbral variety, achieved through detailed articulations, dynamic contrasts, use of the plunger mute, and extended technique (e.g., mouthpiece hand pop). The trumpet displays a wide expressive range, notated variously in the score as “boldly”, “cantabile,” “tenderly,” “graceful,” “menacing,” and “nervously.”

Duets

Arctic Shadows (1993)

Arctic Shadows maintains the storytelling element of the original symphonic poem Edge of the World, by shifting moods and textures, including the slow and sustained opening, active and fervent middle section, and spacious, tranquil ending. The oboe plays five basic melodic motives throughout the work, all of which exhibit a limited range and an emphasis on third, fourth, fifth intervals.

Keyboard

Diversions: 4 Pieces for Young Pianists (1994)

Diversions offers many technical and expressive explorations that are sure to interest and teach any young player, including dynamic contrasts, pedaling technique, metre changes, and polytonality.

Voices

Journey Out of Night: 14 Visions: a MonoDrama (1994)

Journey Out of Night (1994) approaches the text not as traditional poetry or with a concern for syntax but as word-play and satire, which rely on evocative meanings and the expressive qualities of the sounds. Though the work does not develop a plot or specific character, the vivid texts, specified placement of the singer, and lighting direction create theatricality.

SEARCH WORKS