For a Bust of Erik Satie (Fine, Vivian)

Sheet Music

• Scores (1)
• Parts (1)
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Scores

 Complete Score
*#220622 - 10.64MB, 45 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 578×⇩ - rhymesandchymes

PDF typeset by Paul Hawkins
rhymesandchymes (2012/5/17)

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. Purchase Javascript is required for this feature.

Parts

 Complete Parts
*#220624 - 11.45MB, 56 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 247×⇩ - rhymesandchymes

PDF typeset by Paul Hawkins
rhymesandchymes (2012/5/17)

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. Purchase Javascript is required for this feature.

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Harry Mathews, a professor in the French department at Bennington, wanted to do an interdisciplinary production that would be part of the celebration for a new art building at the college. Mathews translated text by Georges Guy concerning Erik Satie, which Fine set as a Mass…. Three narrators from the drama department, who, according to Fine, were over six feet tall, delivered most of the text, sometimes in English, sometimes in French, and often in translation. The Mass begins with the following solo narration: “Since most of what follows is doggerel, and unrhymed doggerel at that, its performance should be kept within the bounds of a not unpleasant monotony, highlighted occasionally with touches of greater melancholy. A note of seriousness imbued with piety would also be appropriate.”

Fine’s music captures the spirit of the text perfectly. She wrote simple syllabic melodies accompanied by a one- or two-part instrumental counterpoint, and purely ensemble sections often repeat previously heard vocal lines. The “Collect,” which is spoken by two narrators, ends with the following: “Deliver not thy servant Erik unto the power of Paris Opera houses, but may all Thy holy angels receive him into the Metropolitan Art church of Jesus, the leader he so longed to find.”

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