Songs of Love and War (Fine, Vivian)

Contents

Performances

Recordings

MP3 file (audio)
Rhymesandchymes (2013/5/27)

MP3 file (audio)
Rhymesandchymes (2013/5/27)

MP3 file (audio)
Rhymesandchymes (2013/5/27)

MP3 file (audio)
Rhymesandchymes (2013/5/27)

MP3 file (audio)
Rhymesandchymes (2013/5/27)

Performers Marlene Walt, soprano, Jennie Shames, violin, Ralph Gomberg, oboe,
Stephen Walt, bassoon, Thomas Gauger, percussion, Gilbert Kalish, piano
Publisher Info. Vivian Fine estate
Copyright
Misc. Notes Recorded live August 14, 1991 at the Clark Art Institute, Williamstown, Massachusetts
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Sheet Music

Scores

PDF scanned by Paul Hawkins
rhymes&chymes (2012/3/9)

Publisher. Info. Vivian Fine Estate
Copyright
Misc. Notes Request Licenses from ASCAP
Report performances to Vivian Fine Estate
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PMLP322734-Songs of Love and War Score.pdf
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General Information

Work Title Songs of Love and War
Alternative. Title
Composer Fine, Vivian
Movements/SectionsMov'ts/Sec's 5 songs
  1. Look Down Fair Moon (Walt Whitman)
  2. Stabat Mater (Jozef Wittlin, transl. by Joy Davidman)
  3. The Song of Songs (Old Testament)
  4. My Triumph lasted till the drums (Emily Dickinson)
  5. Reconciliation (Walt Whitman)
Year/Date of CompositionY/D of Comp. 1991
First Performance. 1991-08-14 at the Clark Art Institute, Williamstown, Massachusetts, Marlene Walt, soprano, Jeannnie Shames, violin, Ralph Gomberg, oboe, Stephen Walt, bassoon, Thomas Gayger, percussion, Gilbert Kalish, piano
Librettist Walt Whitman, Jozef Wittlin, Emily Dickinson, and the Old Testament
Language English
Average DurationAvg. Duration 16 minutes
Composer Time PeriodComp. Period Modern
Piece Style Modern
Instrumentation Soprano, piano, violin, oboe, bassoon, and percussion


Misc. Comments

Commissioned by Stephen Walt, in memory of his father.

[After Songs and Arias] Fine...maintained a serious mood for her next composition, Songs of Love and War.... This is not a cycle, but a series of songs about death using lyrics from some of Fine's favorite sources....the music is simple and at times severe....Often Fine doubled the vocal line, frequently with the oboe, and although the ensemble is quite large, she refrained from overwriting, having sparse counterpoints and occasional percussive material highlight the text.

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