| Composition Year | 2020 |
|---|---|
| Genre Categories | Pieces; For 2 violins; Scores featuring the violin; |
Contents |
Recording with violin and viola
*#649332 - 11.31MB - 4:56 - (-) - !N/!N/!N - 2668×⇩ - MP3 - Elainefine
MP3 file (audio)
Elainefine (2020/9/28)
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Complete Scores
*#649171 - 1.82MB, 23 pp. - (-) - !N/!N/!N - 8838×⇩ - Elainefine
PDF typeset by composer
Elainefine (2020/9/27)
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| Work Title | In an Old House in Paris |
|---|---|
| Alternative. Title | |
| Composer | Fine, Elaine |
| I-Catalogue NumberI-Cat. No. | IEF 117 |
| Year/Date of CompositionY/D of Comp. | 2020 |
| First Performance. | 2020/09/26 |
| Average DurationAvg. Duration | 5 minutes |
| Composer Time PeriodComp. Period | Modern |
| Piece Style | Modern |
| Instrumentation | various combinations of 2 instruments (see below) |
| InstrDetail | scores are provided to make the following combinations possible: |
This is an antiphonal piece that follows the rhythms found in the text of Madeline, a children’s book written in 1939 by Ludwig Bemelmans. The words that correspond to the musical phrases can be found in the book, which can be found in many libraries and bookstores. They cannot be printed in the score, though.
During 2020, a time of social distancing, musicians have been looking for ways to play together by way of video communication. Truly synchronous two-way communication is not yet possible, so this piece explores the horizontal musical communication that is operative in antiphonal music.
I have found that the piece works better on a direct communication platform like FaceTime than it does on a conference-based platform like Zoom.
I have made modular settings so that this piece can be played by two violins, two clarinets, violin and clarinet, two violas, viola and guitar, oboe and guitar, flute and guitar, violin and guitar, violin and viola, viola and cello, oboe and viola, flute and viola, bassoon and cello, bassoon and viola, two cellos, and two bassoons.
I wrote this piece so that musicians can have the pleasure of communicating with one another in real time, which is a necessity in times of social isolation. In the time that follows the Covid-19 pandemic (whenever that may be), this piece could be performed in a way that injects freedom in the sections marked “allow for random cacophony.”
