| Movements/SectionsMov'ts/Sec's | 3 movements |
|---|---|
| Composition Year | 1996-2005 |
| Genre Categories | Preludes; For viola, orchestra; Scores featuring the viola; |
Complete Score
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Elainefine (2025/6/13)
|  |
| Work Title | Chorale Preludes |
|---|---|
| Alternative. Title | |
| Composer | Fine, Marshall |
| Opus/Catalogue NumberOp./Cat. No. | Opus 81a |
| Internal Reference NumberInternal Ref. No. | IMF 46 |
| Movements/SectionsMov'ts/Sec's | 3 movements |
| Year/Date of CompositionY/D of Comp. | 1996-2005 |
| First Performance. | September 2, 1994 |
| Composer Time PeriodComp. Period | Modern |
| Piece Style | Modern |
Program Notes by the composer: CHORALE PRELUDES, op. 81a As with the Herzliebster Jesu Variations, Fine orchestrated (but only the first two movements) from the original viola and organ version. The original had been requested in memory of Jack Abell by Fine’s wife Michelle, who gave the premiere on September 22, 1994. The work was also in Fine’s repertoire and he played it the next year in Jackson, Tennessee, before making the concert version in 1996. Unfortunately Fine could not make parts for it.
The original version is in three movements, united by the cyclic soggetto cavato motive A-B-E-L-L (A, Bb, E, A, A). In the first movement this motive accompanies the chorale melody Herr, ich habe misgehandelt (also used in the Saxophone Sonata). The second movement is a setting of Abell’s own hymn-tune, Senter. The third (not orchestrated) exploits an astounding coincidence of themes to produce a portrait of Abell himself: the three themes used in it, all pertaining to him, are roughly related by augmentation and diminution. The main theme is Lasst uns erfreuen (also known as “Vigiles et sancti”). The Shaker hymn-tune Simple Gifts, which is paired with it--a favorite of Abell’s--is its diminution. Finally, Fine introduces a theme from the first movement of the Rachmaninoff Symphony #3 (the last work Abell played as a MSO member)--which turns out to be a slightly embellished augmentation of the hymn-tune. From the development section to the end they are worked out fugally and combined with the ABELL motive. Version for Viola and Chamber Orchestra
