4 Pieces for Two Flutes (Fine, Vivian)
|
|
|---|
Performances
Recordings
1. Grazioso, un poco giocoso
*#183022 - 0.64MB - 1:24 - (0) - - !N/!N/!N - 432x⇩
MP3 file (audio)
rhymes&chymes (2012/3/1)
2. Lento tristo
*#183023 - 0.78MB - 1:42 - (1) - - !N/!N/!N - 185x⇩
MP3 file (audio)
rhymes&chymes (2012/3/1)
4. Poco allegro
*#183024 - 0.44MB - 0:58 - (0) - - !N/!N/!N - 140x⇩
MP3 file (audio)
rhymes&chymes (2012/3/1)
Don Bailey and Katherine Hoover
Vivian Fine Estate
Creative Commons Attribution Non-commercial No Derivatives 3.0 [tag/del]
No recording is available for the third piece.
Javascript is required for this feature.
Sheet Music
Scores and Parts
PDF typeset by Paul Hawkins
rhymes&chymes (2012/3/1)
PDF typeset by Paul Hawkins
rhymes&chymes (2012/3/1)
PDF typeset by Paul Hawkins
rhymes&chymes (2012/3/1)
Vivian Fine Estate
Performance Restricted Attribution Non-commercial No Derivatives 1.0 [tag/del]
However, the lawful copyright owner has generously released the file for distribution at IMSLP under one of the Creative Commons licenses or the IMSLP Performance Restricted License, which allow for the free distribution (with proper attribution) of the file with various levels of restriction with respect to the creation of derivative works, commercial usage, or public performances.
Javascript is required for this feature.
General Information
| Work Title | Four Pieces for Two Flutes |
|---|---|
| Alternative Title |
| Composer | Fine, Vivian |
|---|---|
| Movements/Sections | 4 movement |
| Year/Date of Composition | 1930 |
| First Performance | 1931-12-01, Dessau, Germany (Bauhaus), at the International Society of Contemporary Music’s concert of music by women. This performance marked Fine’s international debut as a composer. She had just turned 18 |
| Average Duration | 5 1/2 minutes |
| Piece Style | Modern |
| Instrumentation | 2 flutes |
Misc. Comments
The lines have a similar angular nature, avoidance of repeated pitches, and attention to articulations and dynamics as in the Solo for Oboe, but dissonance becomes more apparent due to the counterpoint. Fine was careful to contrast the two lines….durational interest is created by polyrhythms….In [Fine’s] words: “I worked hard on these compositions. It took me many years before I would consider repeated something exactly.
–Heidi Von Gunden, The Music of Vivian Fine, Scarecrow Press, 1999
REVIEWS
“I think [the third piece] is one of the best compositions I have seen lately by American composers (this is not a compliment, merely a fact!)”
–Imre Weisshaus, letter to Fine, August 23, 1931
“…at the age of 17 she already showed her mastery of dissonant counterpoint in her charming Four Pieces for Two Flutes.”
–Wallingford Riegger, American Composers’ Alliance Bulletin, 8, no. 1 (1958)
