SELECTED WORKS: with Type = 'Keyboard'
Suite for Piano No. 1 (1939)
Suite for PIano No. 1 is the first Canadian serialist composition. Though not a virtuosic showpiece, it requires the performer to explore the nuances of texture, timbre, melody, and rhythm within this solo instrument.
Improvisations on an Indian Tune (1942; Revised 1980)
Using a Dene traditional dance tune, Weinzweig explores the organ's great textural and timbral capacity.
Melos has two contrasting characters: Dolente, quarter note equals 80; Molto agitato, quartet note equals 200.
Swing a Fugue (1949)
Though not technically virtuosic, Swing a Fugue requires agility from its performer, and a sensitivity to all the many changes in dynamics and articulations. These elements combine to make a brief, but exciting musical work that is sure to entertain any audience.
Piano Sonata (1950)
The Piano Sonata is filled with a rhythmic vitality and motivic inventiveness that is sure to challenge the player and enliven an audience. While Weinzweig incorporates serial technique in the Piano Sonata, he is more flexible, allowing for concerns of melodic motives and intervallic relationships to override any strict application.
Suite for Piano No. 2 (1950)
The Suite for Piano No. 2 is overall quite dissonant, but recurring motives and tonal centres create a sense of familiarity for the listener. "Berceuse" and "Toccato Dance" are listed as Grades 7-8 in the Canadian Contemporary Music Showcase syllabus.
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.
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.
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."
Weinzweig explains that in Micromotion's twenty pieces, “the performer will encounter such stylistic rhythmic actions as swing, blues, and ragtime.”