Ma's in Orbit (Fine, Vivian)

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Scores and Parts

 Complete score
#176727 - 2.73MB, 23 pp. -  0.0/10 2 4 6 8 10 (0) - !N/!N/!N - 234x

PDF scanned by Paul Hawkins
Peggy Karp (2012/2/7)

 Complete parts
#176728 - 1.34MB, 13 pp. -  0.0/10 2 4 6 8 10 (0) - !N/!N/!N - 117x

PDF scanned by Paul Hawkins
Peggy Karp (2012/2/7)

PMLP310813-Ma's in Orbit 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 Ma's in Orbit
Alternative Title
Composer Fine, Vivian
Movements/Sections 7 sections
  1. Race
  2. Cuckoo
  3. Spring Dance
  4. Night-time
  5. Shifting Images
  6. Indians
  7. Finish Line
Year/Date of Composition 1987
First Performance 1987-04-26 at the State University of New York at Buffalo, North American New Music Festival.
Thomas Halpin, violin; William Staebell, contrabass;
Yvar Mikhashoff, piano; Jan Williams, percussion
Average Duration 8 minutes
Piece Style Modern
Instrumentation Violin, double bass, percussion (flexatone, glockenspiel, woodblock, marimba, and vibraphone) and piano


Misc. Comments

In March 1987, Fine recycled her successful dance score from 1937, The Race of Life, and arranged it for violin, percussion, double bass, and piano….The music is fast paced in cabaret style, with rapidly changing movements titled after Thurber’s sketches….Although originally the music was for piano and flexatone, Fine took the opportunity to add percussive color….Ma’s in Orbit is light and entertaining, and Fine’s innate sense of rhythm plus her experience of composing for dance give this piece an energetic nonstop momentum that successfully combines the short movements.

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

Reviews

This engaging and irreverent ‘cartoon’ music—as Ms. Fine puts it—starts off with a jazzy cakewalk and goes through a fast-paced series of programmatic episodes….With its blithe, syncopated sarcasms, it captures that 1930s spirit found in those recordings Count Basie made around the same time. How such joyous optimism could rise from the rubble of the Great Depression might confound our present-day wisdom. But perhaps its formal vitality provides a clue to just how one survives the times with spirit intact, as Vivian Fine so aptly demonstrates.

—Richard Chon, The Buffalo News, April 27, 1987 (from a review of a retrospective program of Fine’s works)
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