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1.0.1.asax.1- cyms/2susp.cym/tam-t/2tgl/cast/
3Chin.bl/claves/wdbl/BD and cym/SD/small dr/tamb-2vln

Abbreviations (PDF)


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Composer's Notes

I Introduction
II Fugue
III Presto
IV Waltz-March
V Chorale
VI Coda

Although this homage is motivated by great admiration, it may seem disconcertingly oblique. But to imitate Weill in any way would be a poor sort of tribute even if it were successful. So the Concertino simply takes two of Weill’s characteristic textures – fugue and chorale – and uses them for quite different purposes, just as it takes his two principal body-rhythms – dance (triple) and march (duple) – and makes them fight. Thus the Fugue is an alla marcia which refuses to be thrown off-course by snatches of waltz; and the fifth movement is a waltz which is mocked and eventually conquered by snatches of march – though the waltz-rhythm has the last word just before the Chorale.

The introduction exposes the basic material and gives a foretaste of the rest of the work. The Presto links the two main movements, and is reworked in the Coda.

The movements follow each other without pause.

Robin Holloway

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