Rhapsody applies serialist technique and explores contrasting tempos in its seven sections. The work was originally the final movement of Symphony (1940), which Weinzweig withdrew, even rejecting Henry Cowell’s offer to publish it; he would only allow Rhapsody to be performed. Symphony was never performed in full, and Rhapsody only in 1957. Weinzweig expressed a frustration in trying to have his orchestral works performed, and soon turned to chamber ensembles whose performances were much easier to realize.
Rhapsody is one of Weinzweig’s early serialist works, having studied the technique while at the Eastman School of Music in 1937-8. This early application of Schoenberg’s serialist technique indicates Weinzweig’s flexible approach, as he freely switches from one form of the set to another, without concern for completing the first set. Rhapsody is also representative in its use of tonal centres despite a serialist approach: G, A, and D emerge as tonal centres in different sections. Rhapsody avoids tutti sections and highlights certain instruments, including short solos for flute, piccolo, French horn, bassoon, oboe, and violin.
Written by Alexa Woloshyn
Rhapsody (1941)
Full Orchestra, Flute (3), Oboe (3), Clarinet (3), Bassoon (2), Horn (4), Trumpet (2), Trombone (3), Tuba (1), Strings, Violin (s), Viola (s), Cello (s), Bass (es), Timpani, Percussion
Duration: 10 Minutes
First Performance: 4 March 1957, Toronto; CBC broadcast, CBC Symphony Orchestra, Victor Feldbrill