SELECTED WORKS: with Type = 'Duets'
Sonata for Violin and Piano (1941)
Weinzweig composes an equality between the two instruments. But the violin shines in its extended cadenza in the latter part of the work.
Intermissions for Flute and Oboe (1943)
The oboe and flute variously coordinate and compete throughout the four movements, each of which displays rhythmic variety and melodic inventiveness within an overall dissonant musical language.
Sonata "Israel" for Cello and Piano (1949)
This work combines Weinzweig's flexible approach to serialism with the hope for the then-new State of Israel and the joy of a realised dream for the Jewish community.
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.
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.
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.
The work contains several distinct ideas, each expressed through varied tempos, dynamics, articulations, and textures. The resulting musical conversations between the two violions can be competitive, with each violin asserting its voice above the other, or a more polite call-and-answer.