3 Pieces for Violin and Piano (Fine, Vivian)
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Performances
Recordings
1. Moderato
*#179378 - 1.32MB - 2:53 - (0) - - !N/!N/!N - 137x⇩
MP3 file (audio)
rhymesandchymes (2012/2/16)
2. Andante
*#266227 - 7.10MB - 3:52 - (0) - - !N/!N/!N - 25x⇩
MP3 file (audio)
rhymesandchymes (2013/1/15)
MP3 file (audio)
rhymesandchymes (2013/1/15)
Frances Breed, violin and VIvian Fine, piano
Vivian Fine Estate
Creative Commons Attribution-NonCommercial-NoDerivs 3.0 [tag/del]
Audio quality not great but only extant recording. Composer on the piano.
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Sheet Music
Scores and Parts
Complete Score and instructions
*#179362 - 1.53MB, 11 pp. - (0) - !N/!N/!N - 122x⇩
PDF scanned by Paul Hawkins
rhymes&chymes (2012/2/16)
Violin Part
*#179363 - 0.47MB, 3 pp. - (0) - !N/!N/!N - 139x⇩
PDF scanned by Paul Hawkins
rhymes&chymes (2012/2/16)
Vivian Fine Estate
Performance Restricted Attribution Non-commercial No Derivatives 1.0 [tag/del]
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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Report performances to Vivian Fine Estate
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General Information
| Work Title | Three Pieces for Violin and Piano |
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| Alternative Title |
| Composer | Fine, Vivian |
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| Movements/Sections | 3 movements
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| Year/Date of Composition | 1940 |
| First Performance | 1946-04-16 in New York City. International Society for Contemporary Music Forum Group
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| Average Duration | 9 minutes |
| Piece Style | Modern |
| Instrumentation | violin and piano |
| External Links | Vivian Fine website |
Misc. Comments
Patterned with figures that create a motor rhythm, each piece generates an energy that is shared equally by the violin and piano. Fine has an innate sense for how to direct this energy, for each piece seems to be just the right amount of time. Never does she overwrite or repeat material unnecessarily. The first piece is through-composed in the style of a baroque prelude. It begins tonally, but by measure 2 the piano adds Fine’s distinctive dotted rhythmic gestures and dissonant vertical structures. The second piece is slower and melodic, often being three-voice counterpoint due to melodies woven into the piano figuration. The last piece is a humorous gigue that at one point has the marking “misterioso” and “with exaggerated expression and rubato.”
–Heidi Von Gunden, The Music of Vivian Fine, Scarecrow Press, 1999

