Oda a las Ranas (Fine, Vivian)

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Performances

Recordings

 Complete performance
#245123 - 20.91MB - 11:25 -  0.0/10 2 4 6 8 10 (0) - - !N/!N/!N - 101x

MP3 file (audio)
rhymesandchymes (2012/8/3)

Performers:

Veil of Isis vocal ensemble
Jane Lenoir, flute; William Banovetz, oboe; Carol Negro, bassoon;
Sandra Mabee, percussion; Joan Gallegos, conductor

Publisher Info.:

Vivian Fine Estate

Copyright:

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

Misc. Notes:

Recorded live July 29, 1983, Berkeley, California

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Sheet Music

Scores

 Complete score and poem with translation
#245122 - 3.98MB, 21 pp. -  0.0/10 2 4 6 8 10 (0) - !N/!N/!N - 165x

PDF typeset by Paul Hawkins
rhymesandchymes (2012/8/3)

PMLP397332-Oda a las Renas.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 Oda a las Ranas
Alternative Title
Composer Fine, Vivian
Movements/Sections One movement
Year/Date of Composition 1980
First Performance 1981-06-13 in Philadelphia, Pennsylvania.
Anna Crusis Women’s Ensemble, Jean Leavitt, narrator,
Lore Silverberg, flute, Mary Ellen Corwin, oboe, Lori Barnett, cello, Flossie Ierardi, percussion, Catherine Roma, conductor
Librettist Pablo Neruda (1904-1973)
Language Spanish
Average Duration 11 1/2 minutes
Piece Style Modern
Instrumentation Women’s chorus, flute, oboe, cello and percussion


Misc. Comments

Fine divided the women’s choir into four parts and chose a simple instrumentation of flute, oboe, and cello with a colorful array of percussion using ratchets, gongs, cymbals, castanets, and vibraphone. The vibraphone provides pitch support, and at one point…the voices are asked to match the vibraphone timbre. Like she did in the nightingale texts in previoius music, Fine enjoyed writing froglike text painting, using quivering figures and doubly dotted rhythms to portray the text and having the cello add percussive textures of snapped and glissandi pizzicati. Frequently the voices are doubled by the instruments, making Oda a las Ranas accessible.

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