Movement 1: Moderato
Movement 2: Rasches Walzertempo
Movement 3: Andante
Movement 4: Presto – Rasches Walzertempo
The ecstatic melodic writing of the Andante slow movement demonstrates Weiner’s deep roots in Germanic romanticism, especially Brahms, though the musical texture is lighter than that of his great predecessor. The restatement of the main tune in the last third of the movement brings a rippling, decorative accompaniment to gild this ecstatic lily. By contrast the finale begins as a good-humoured, capering Presto requiring fine violin technique for its execution, pitted against fanfaring chords in the piano. (Weiner directs that it should be ‘sharply rhythmicized’.) Soon, however, there occurs a cyclic return of the first movement’s opening theme, interspersed with the quick-moving figurations of the finale. These elements alternate in an energetic and sometimes grotesque parade of invention, which constitutes a development. When it seems the music can no longer surprise us, the coda strikes in even faster, at Rasches Walzertempo, with a fusillade of pizzicato strumming from the violinist, and drives to a distinctly raffish conclusion.
from notes by Calum MacDonald © 2009