Lieder for Viola and Piano (Fine, Vivian)




MP3 file (audio)
rhymesandchymes (2012/7/2)

MP3 file (audio)
rhymesandchymes (2012/7/2)

MP3 file (audio)
rhymesandchymes (2012/7/2)

MP3 file (audio)
rhymesandchymes (2012/7/2)

MP3 file (audio)
rhymesandchymes (2012/7/2)

MP3 file (audio)
rhymesandchymes (2012/7/2)

Performer Pages Vivian Fine (piano)
Performers Jacob Glick, viola
Publisher Info. Vivian Fine Estate
Misc. Notes There's quite a bit of distortion, especially noticeable in the piano part, but since to my knowledge the source cassette tape is the only extant recording of this work and the composer is at the piano, I thought the recording would be a valuable resource for musicians interested in the work.
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General Information

Work Title Lieder for Viola and Piano
Alternative. Title Lieder for Viola and Piano (inspired by songs of Hugo Wolf and Franz Schubert)
Composer Fine, Vivian
Movements/SectionsMov'ts/Sec's 6 sections
1. Allegretto
2. Molto tranquillo
3. Allegretto rustico
4. Lento
5. Sustained, with fervor
6. Flowing
Year/Date of CompositionY/D of Comp. 1979
First Performance. 1980-05-02 in New York city, Composers’ Forum, Bruno Walter Auditorium, Lincoln Center Library; Jacob Glick, viola and Vivian Fine, piano
Average DurationAvg. Duration 17-18 minutes
Composer Time PeriodComp. Period Modern
Piece Style Modern
Instrumentation viola, piano

Misc. Comments

This piece is published by Arsis Press and is available for purchase at

Request Licenses from ASCAP
Report performances to Vivian Fine Estate

Program Notes

The inspiration for Lieder for Viola and Piano comes from Hugo Wolf, and, in "The Song of the Trout," from Schubert. Motifs from these composers are used, but never literally. The intent was to convey the composer's involvement with the lyric and dramatic elements of traditional lieder in her own language.

—Notes to Arsis edition

Fine used gestural ideas from some of Hugo Wolf’s and Schubert’s songs for her Lieder. There are six short movements, all written with the period of one month….Each movement’s gesture is stated clearly and then manipulated contrapuntally….For Fine, the use of these contrapuntal devices, such as canon and retrograde, were not just easy ways to generate more music, but a natural expansion of already well-made melodies. When asked if, after writing a melody, she could read it backward and mentally hear the retrograde, her answer was “Yes!”

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