Movements/SectionsMov'ts/Sec's | 6 sections
|
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Composition Year | 1979 |
Genre Categories | Lieder; Songs; For viola, piano; |
Contents |
1. Allegretto ((The Balcony)
*#239920 - 4.71MB - 2:34 - -) ( - !N/!N/!N - 771×⇩ - MP3 - rhymesandchymes
MP3 file (audio)
rhymesandchymes (2012/7/2)
⇒ 5 more: 2. Molto tranquillo (Moon-Stream) • 3. Allegretto rustico (The Song of the Trout) • 4. Lento (Jewels) • 5. Sustained, with fervor (In the Garden of the Crucifixion) • 6. Flowing (Transfiguring Night)
2. Molto tranquillo (Moon-Stream)
*#239921 - 6.73MB - 3:40 - -) ( - !N/!N/!N - 215×⇩ - MP3 - rhymesandchymes
MP3 file (audio)
rhymesandchymes (2012/7/2)
3. Allegretto rustico (The Song of the Trout)
*#239922 - 2.70MB - 1:28 - -) ( - !N/!N/!N - 142×⇩ - MP3 - rhymesandchymes
MP3 file (audio)
rhymesandchymes (2012/7/2)
4. Lento (Jewels)
*#239929 - 7.22MB - 3:57 - -) ( - !N/!N/!N - 142×⇩ - MP3 - rhymesandchymes
MP3 file (audio)
rhymesandchymes (2012/7/2)
5. Sustained, with fervor (In the Garden of the Crucifixion)
*#239930 - 8.72MB - 4:46 - -) ( - !N/!N/!N - 109×⇩ - MP3 - rhymesandchymes
MP3 file (audio)
rhymesandchymes (2012/7/2)
6. Flowing (Transfiguring Night)
*#239931 - 4.99MB - 2:43 - -) ( - !N/!N/!N - 155×⇩ - MP3 - rhymesandchymes
MP3 file (audio)
rhymesandchymes (2012/7/2)
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Work Title | Lieder for Viola and Piano |
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Alternative. Title | Lieder for Viola and Piano (inspired by songs of Hugo Wolf and Franz Schubert) |
Composer | Fine, Vivian |
I-Catalogue NumberI-Cat. No. | IVF 84 |
Movements/SectionsMov'ts/Sec's | 6 sections
|
Year/Date of CompositionY/D of Comp. | 1979 |
First Performance. | 1980-05-02 in New York city, Composers’ Forum, Bruno Walter Auditorium, Lincoln Center Library; Jacob Glick, viola and Vivian Fine, piano |
Average DurationAvg. Duration | 17-18 minutes |
Composer Time PeriodComp. Period | Modern |
Piece Style | Modern |
Instrumentation | viola, piano |
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Report performances to Vivian Fine Estate
The inspiration for Lieder for Viola and Piano comes from Hugo Wolf, and, in "The Song of the Trout," from Schubert. Motifs from these composers are used, but never literally. The intent was to convey the composer's involvement with the lyric and dramatic elements of traditional lieder in her own language.
Fine used gestural ideas from some of Hugo Wolf’s and Schubert’s songs for her Lieder. There are six short movements, all written with the period of one month….Each movement’s gesture is stated clearly and then manipulated contrapuntally….For Fine, the use of these contrapuntal devices, such as canon and retrograde, were not just easy ways to generate more music, but a natural expansion of already well-made melodies. When asked if, after writing a melody, she could read it backward and mentally hear the retrograde, her answer was “Yes!”