Quartet for Brass (Fine, Vivian)

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Performances

Recordings

 Variations: Poco lento, espressivo
#179375 - 1.65MB - 3:36 -  0.0/10 2 4 6 8 10 (0) - - !N/!N/!N - 822x

MP3 file (audio)
rhymes&chymes (2012/2/16)

 Variations: Lively
#179376 - 0.60MB - 1:18 -  0.0/10 2 4 6 8 10 (0) - - !N/!N/!N - 418x

MP3 file (audio)
rhymes&chymes (2012/2/16)

Performers:

Ronald K. Anderson and Allan Dean, trumpets;
David Jolley, horn; Lawrence Benz, bass trombone

Publisher Info.:

CRI - New World Records used with permission

Copyright:

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

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Sheet Music

Scores

 Complete score
#179374 - 4.32MB, 19 pp. -  5.0/10 2 4 6 8 10 (2) - !N/!N/!N - 1625x

PDF scanned by Paul Hawkins
rhymes&chymes (2012/2/16)

PMLP314332-Brass Quartet 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.

Misc. Notes:

Request Licenses from ASCAP
Report performances to Vivian Fine Estate

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General Information

Work Title Quartet for Brass
Alternative Title
Composer Fine, Vivian
Movements/Sections 4 movements
Variations: Poco lento, espressivo
Fanfare: Energico
Eclogue: Lento
Variations: Lively
Year/Date of Composition 1978
First Performance 1979-04-20 in Schenectady, New York, Union College. Metropolitan Brass Quartet
Douglas Hedwig and Kristian Solem, trumpets;
William Parker, horn; Bruce Bonvissuto, bass trombone
Average Duration 11 1/2 minutes
Piece Style Modern
Instrumentation Two trumpets, horn, and bass trombone
External Links Vivian Fine website


Misc. Comments

Commissioned by the Metropolitan Brass Quartet


Each of the Quartet’s four movements explores a specific idea, and the brass ensemble is heard in differing contexts. For example, in “Variations,” the first movement, Fine creates a stark intervallic texture which later becomes a retrograde and then accumulates energy by doubling its speed…The ensemble becomes more brasslike for the second movement, “Fanfare,” in which the listener hears various pairings of the instruments in a contrapuntal texture that is meticulously shaped through dynamics, attacks, and, at times, microtonal tuning. “Eclogue” is quiet and sparse with solo instrumental lines, ending with a prolonged C that is colored by changes in dynamics and mutes. The fourth movement, “Variations,” becomes more lively as the ensemble presents individual and unison lines that punctuate the rapidly changing rhythmic patterns. ...“Variations” is constantly dancing. Material is reused as canons, retrogrades, and in augmentation, but the energy never ceases, and the listener does not have time to register the compositional manipulations.

—Heidi Von Gunden, liner notes to “Vivian Fine,” CRI American Masters CD 692


Reviews

“…much fresh and truly innovative material. Various unusual crescendo-glissando combinations, for instance, and an occasional quasi-pointillist usage of the brasses come as delicious surprises. This is a work that should certainly be added to the repertory of the university and professional brass ensembles emerging in such numbers these days."

—Dale Shepfer, American Record Guide, October 1982


“This is spare but by no means unlyrical music….Vivian Fine has written one of the most thoughtful and least showy of brass-ensemble pieces in her 1978 quartet, a work which manages to be as technically fascinating as it is pleasurable.”

—John Ditsky, Fanfare, 1982


“It was all striking, but Fine’s work captured my imagination. In the third movement, trumpet and trombone players took to the rear of the Greenwall Music Workshop, where they echoed and responded to the notes being played on stage. Fine drew a picture of a conversation and of distance—and then of distance bridged. It was beautiful, and very moving.”

—Wendy Severinghaus, Bennington Banner, April 20, 1987
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