Double Variations for Piano Solo (Fine, Vivian)




MP3 file (audio)
rhymesandchymes (2012/8/17)

Performers Claudia Stevens, piano
Publisher Info. Vivian Fine Estate
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Sheet Music


PDF scanned by Paul Hawkins
Peggy Karp (2012/1/26)

Publisher. Info. Vivian Fine Estate
Misc. Notes Request Licenses from ASCAP
Report performances to Vivian Fine Estate
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General Information

Work Title Double Variations for Piano Solo
Alternative. Title
Composer Fine, Vivian
I-Catalogue NumberI-Cat. No. IVF 18
Year/Date of CompositionY/D of Comp. 1982
First Performance. 1983-12-5 in New York, Carnegie Recital Hall. Claudia Stevens, piano
Dedication Claudia Stevens
Average DurationAvg. Duration 9 1/2 minutes
Composer Time PeriodComp. Period Modern
Piece Style Modern
Instrumentation piano
External Links Vivian Fine website

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  • Composer’s program notes:
The first five variations are transformations of the opening material. Beginning with the sixth variation a fragment from Carter’s Double Concerto is introduced. This is combined with the opening statement for the remaining seven variations.

  • From Leslie Jones, “The Solo Piano Music of Vivian Fine,” Doctor of musical arts thesis, University of Cincinnatti, 1994:
Double Variations marked the occasion of Elliot Carter’s seventy-fifth birthday. Pianist Claudia Stevens commissioned and premiered the work at Carnegie Recital Hall, December 5, 1983.
Double Variations recalls the textural and metrical complexities of Carter’s writing and his affinity for interweaving contrapuntal lines. Carter’s String Quartet No. 1 (1951), with these characteristics in an atonal context, influenced Fine’s writing of Double Variations. She commented on the piece: “The two-theme format of Double Variations refers to Carter’s String Quartet. There is a dialogue element to Double Variations and it is extremely difficult. I’ve never played it.”
...[U]nusual meter, rhythms, pedaling, disjunct linear writing, exploitation of contrasting registers, harmonic construction, and variation format provide an enormous spectrum of textural contrasts and pianistic challenges; however, it is Fine’s manipulation of various pitch sets and groupings that provide the greatest cohesive factor in Double Variations.