SELECTED WORKS: with Type = 'Solo With Orchestra, Band'
Solo With Orchestra, Band
Spectre (1938)
This work was premiered by Toronto's Melodic Strings on a CBC sunday night broadcast on January 1, 1939.
Solo With Orchestra, Band
A Tale of Tuamotu (1939)
The piece is based on a tale of lost learning from the Polynesian Tuamotus but contains only certain rythmic quotations.
Solo With Orchestra, Band
Divertimento No. 1 (1946)
The relationship between the flute and the strings is based on the idea of a conversation between the solo instrument and the group of strings.
Solo With Orchestra, Band
Divertimento No. 2 (1947)
Weinzweig combines the three-movement structure of the original Classical genre with 12-tone technique. As opposed to a means of control, Weinzweig uses each row freely as melodic inspiration. The oboe and string orchestra have an energetic and rhythmic conversation, filled with humour as well as lyricism.
Solo With Orchestra, Band
Concerto for Violin and Orchestra (1951-4)
This was the first of Weinzweig's concertos and a landmark in his career. The orchestration creates a transparent texture, as Weinzweig composes chamber-like groupings and infrequent tutti sections to allow the solo violin to remain prominent.
Solo With Orchestra, Band
Wine of Peace: Two Songs for Soprano and Orchestra (1957)
Wine of Peace has a significant solo saxophone line. At the premiere, the saxophone solo was performed by Morris Weinzweig, John Weinzweig's brother.
Solo With Orchestra, Band
Divertimento No. 3 (1960)
Weinzweig, influenced by Benny Goodman and Count Basie, emphasizes jazz and swing elements such as conhesive writing for the solo bassoon, syncopation, blue notes, and quadruple metre.
Solo With Orchestra, Band
Divertimento No. 5 (1961)
The work highlights two soloists—trumpet and trombone—through mostly unaccompanied duet passages or sparse accompaniment, creating a strong contrast in texture and timbre between the soli and tutti sections.
Solo With Orchestra, Band
Concerto for Piano and Orchestra (1966)
In this work the solo piano and the orchestra frequently engage in short musical dialogues- this differs dramatically from the longer passages more typically found in piano concertos.
Solo With Orchestra, Band
Concerto for Harp and Chamber Orchestra (1967)
The soloist demonstrates both virtuosity and a sensitivity to the varied tonal qualities of the harp throughout the six sections of this single-movement work.