List of Works || Suite for Piano No. 2

Suite for Piano No. 2 was written near the end of Weinzweig’s tenure with the CBC, writing scores for radio dramas, and shortly after his Olympic medal for Divertimento No. 1. Weinzweig was embarking on his career as a full-time professional composer. Also during this period, Weinzweig began his long-suffering advocacy for Canadian composers and their music. In 1949, the Toronto Jewish Folk Choir bulletin published an article entitled “Composer Meets Box Office” in which Weinzweig criticizes the reluctance of symphony orchestras to program Canadian composers, particularly anything new.

Though the Suite for Piano No. 2 is overall quite dissonant, recurring motives and tonal centres create a sense of familiarity for the listener. “Conversation Piece” centres on G-sharp with C-sharp as a substitute dominant; the motive C-sharp-B-B-flat-C recurs throughout the movement, with subtle expansions and transformations. The “conversation” occurs between the left and right hands, who only occasionally “speak” simultaneously.

“Berceuse” emphasizes G as a tonal centre, with substantial emphasis also on A-flat and F-sharp. The left hand’s repeating pattern establishes a rocking feel over which a legato melody sings out. The final movement, “Toccata Dance,” marked Presto, Marcatissimo, is a lively and aggressive conclusion to the work. E-flat is a clear tonal centre, particularly emphasized in a long octave unison passage. The momentum builds through a gradual crescendo, which reaches a climax at a fortissimo sforzando on E-flat. A momentary pause is quickly abandoned in the final prestissimo rush to the closing fortississimo sforzando chord.  

Written by Alexa Woloshyn