Chamber Concerto for Cello and Six Instruments (Fine, Vivian)

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Performances

Recordings

 1. Recitative; A Sequence for St Michael (Alcuin)
#192702 - 2.03MB - 4:25 -  0.0/10 2 4 6 8 10 (0) - - !N/!N/!N - 220x

MP3 file (audio)
rhymesandchymes (2012/3/25)

 2. Declamation; Prayer (W.H. Auden)
#192703 - 0.86MB - 1:52 -  0.0/10 2 4 6 8 10 (0) - - !N/!N/!N - 101x

MP3 file (audio)
rhymesandchymes (2012/3/25)

 3. Lament (Abelard)
#192704 - 1.91MB - 4:10 -  0.0/10 2 4 6 8 10 (0) - - !N/!N/!N - 80x

MP3 file (audio)
rhymesandchymes (2012/3/25)

Performers:

George Finckel, solo cello, Gunnar Schonbeck, clarinet, Eric Rosenblith, violin, Alice Webber, viola, Pamela Bostelmann, cello, Marianne Finckel, double bass, Lauren Levey, piano, Vivian Fine, conductor

Publisher Info.:

Vivian Fine Estate

Copyright:

Creative Commons Attribution Non-commercial No Derivatives 3.0 [tag/del]

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Sheet Music

Scores and Parts

 Score
#192685 - 4.69MB, 22 pp. -  0.0/10 2 4 6 8 10 (0- !N/!N/!N - 338x

PDF scanned by Paul Hawkins
rhymesandchymes (2012/3/25)

 Solo cello
#192686 - 0.91MB, 4 pp. -  0.0/10 2 4 6 8 10 (0- !N/!N/!N - 187x

PDF scanned by Paul Hawkins
rhymesandchymes (2012/3/25)

 Parts
#192687 - 2.13MB, 15 pp. -  0.0/10 2 4 6 8 10 (0- !N/!N/!N - 151x

PDF scanned by Paul Hawkins
rhymesandchymes (2012/3/25)

PMLP331466-Chamber Concerto Score.pdf
Publisher Info.:

Vivian Fine Estate

Copyright:

Performance Restricted Attribution Non-commercial No Derivatives 1.0 [tag/del]

© COPYRIGHT NOTICE. THIS FILE IS PROTECTED UNDER COPYRIGHT LAW.
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.

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General Information

Work Title Chamber Concerto for Cello and Six Instruments
Alternative Title
Composer Fine, Vivian
Movements/Sections 3 movements:
1. Recitative; A Sequence for St Michael (Alcuin)
2. Declamation; Prayer (W.H. Auden)
3. Lament (Abelard)
Year/Date of Composition 1966
First Performance 1979-12-05 at Windham College, Putney, Vermont. George Finckel, solo cello, Gunnar Schonbeck, clarinet, Eric Rosenblith, violin, Alice Webber, viola, Pamela Bostelmann, cello, Marianne Finckel, double bass, Lauren Levey, piano, Vivian Fine, conductor
Average Duration 10 minutes
Piece Style Modern
Instrumentation Solo cello, oboe, violin, viola, cello, double bass, and piano


Misc. Comments

George Finckel, cellist at Bennington, asked that Fine write a piece for him. At the time she was working on a cantata for voice and orchestra based upon writings by Alcuin (735-804), W.H. Auden (1907-1973), and Pierre Abelard (1079-1142), an eclectic assortment of texts that portray a spiritual questioning about mercy, justice, truth, and the pursuit of peace. Since Finckel was such an expressive cellist, Fine abandoned the cantata format and reshaped her ideas as the Chamber Concerto for Cello and Six Instruments (1966), choosing oboe, violin, viola, cello, double bass, and piano to accompany the soloist. However, the idea of the cantata permeates the concerto, which begins with a cello recitative that is followed by three movements….Short passages of text are inscribed at the beginning of each movement…[Fine also followed this custom with a number of other pieces, most notably with Poetic Fires (1984) for orchestra, where texts by Homer and Aeschylus precede each section]

“A Sequence for St. Michael” comprises eight long phrases for the cello with the ensemble occasionally punctuating with fused chords, doubling, a countermelody, or terraced textures that add drama to the cello melody. The short “Declamation” which follows is for oboe, violin, viola, and double bass. Fine used an articulated oboe melody, accompanied by pizzicato string counterpoint, to close the supplication to Michael. The passage is marked “with bite,” which is followed by an intense “Prayer” inscribed with Auden’s text: “O God, put away justice and truth, for we cannot understand them and do not want them. Eternity would bore us dreadfully.” The prayer is through-composed featuring passages for solo cello. The Chamber Concerto ends with a disturbed “Lament” inspired by the biblical text of David’s grieving for his friend Jonathan. The oboe and cello participate as alternating soloists expressing their sorrow.

—Heidi Von Gunden, The Music of Vivian Fine, Scarecrow Press, 1999
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