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.
This programme note can be reproduced free of charge in concert programmes with a credit to the composer