Epigram and Epitaph (Fine, Vivian)

Movements/SectionsMov'ts/Sec's	2 songs 1. Epigram 2. Epitaph: upon the death of Sir Albert Morton's Wife
Composition Year	1941
Genre Categories	Songs; For voice, piano; Scores featuring the voice; Scores featuring the alto voice; Scores featuring the piano; For voices with keyboard; Scores featuring the mezzo-soprano voice; English language

Sheet Music

Scores

Complete Score
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PDF typeset by Paul Hawkins
rhymesandchymes (2012/5/27)

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	“Epigram” and “Epitaph: upon the death of Sir Albert Morton’s Wife”
Alternative. Title
Composer	Fine, Vivian
I-Catalogue NumberI-Cat. No.	IVF 24
Movements/SectionsMov'ts/Sec's	2 songs 1. Epigram 2. Epitaph: upon the death of Sir Albert Morton's Wife
Year/Date of CompositionY/D of Comp.	1941
Librettist	Sir William Jones and Sir Henry Wotton
Language	English
Average DurationAvg. Duration	5 minutes
Composer Time PeriodComp. Period	Modern
Piece Style	Modern
Instrumentation	Contralto or mezzo-soprano and piano

Navigation etc.

Fine expressed her feelings [about World War II] in two song collections. The first consists of two songs, “Epigram,” and “Epitaph: upon the death of Sir Albert Morton’s Wife,” on texts by Sir William Jones (1746-1794) and Sir Henry Wotton (1568-1639). Epigram is a parent’s hope that a baby will live, and Epitaph is a statement about a wife who died not long after her husband’s death. She wrote the second collection, Songs of Our Times (1943), for a concert that Lazare Saminsky produced at the Temple Emmanuel in New York to support the Russian/American efforts in the war.

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

Review

…the attractive Epigram, of a limpid vocal line and imaginative instrumentation….

—Lazare Saminsky, Musical Courier, February 1944