Alcestis (Fine, Vivian)

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Performances

Recordings

 2. The Revelling Hercules
#218062 - 0.60MB - 1 minute 18 seconds -  0.0/10 2 4 6 8 10 (0) - - !N/!N/!N - 72x

MP3 file (audio)
rhymesandchymes (2012/5/11)

 3. Battle between Hercules and Thanatos
#218063 - 0.67MB - 1 minute 28 seconds -  0.0/10 2 4 6 8 10 (0) - - !N/!N/!N - 31x

MP3 file (audio)
rhymesandchymes (2012/5/11)

 4. Dance of Triumph and The Rescue of Alcestis
#218064 - 1.00MB - 2 minutes 11 seconds -  0.0/10 2 4 6 8 10 (0) - - !N/!N/!N - 33x

MP3 file (audio)
rhymesandchymes (2012/5/11)

Performers:

Imperial Philharmonic of Tokyo, William Strickland, conductor

Publisher Info.:

CRI - New World Records, used with permission

Copyright:

Creative Commons Attribution Non-commercial No Derivatives 3.0 [tag/del]

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Sheet Music

Scores

 Complete score for Orchestral Suite
#218061 - 11.37MB, 55 pp. -  0.0/10 2 4 6 8 10 (0) - !N/!N/!N - 140x

PDF typeset by Paul Hawkins
rhymesandchymes (2012/5/11)

PMLP361525-Alcestis Score.pdf
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.

Misc. Notes:

Request Licenses from ASCAP

Report performances to Vivian Fine Estate

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General Information

Work Title Alcestis
Alternative Title
Composer Fine, Vivian
Movements/Sections 4 movements
1. Alcestis and Thanatos
2. The Revelling Hercules
3. Battle between Hercules and Thanatos
4. Dance of Triumph and The Rescue of Alcestis
Year/Date of Composition 1960
First Performance Ballet: 1960-04-29, New York City, 54th Street Theatre, Martha Graham and Dance Company, chamber orchestra conducted by Robert Irving.

Orchestral Suite: 1983-11-05, Bennington, Vermont, Bennington College, Vermont Symphony Orchestra, conducted by Efraim Guigui

Average Duration 11 minutes
Piece Style Modern
Instrumentation Ballet: chamber orchestra; Orchestral suite: symphony orchestra
Extra Information Commission: Martha Graham


Misc. Comments

The working procedure was much different than it had been in Fine’s previous experience with choreographers. Heretofore the choreography preceded the music. With Alcestis, Fine wrote the music from a dramatic script written by Graham. As stated on the score, Fine’s intention was “an attempt to depict the dramatic and emotional qualities of the myth…[that] avoids descriptive or representational writing.” As a musical work, the score is self-sufficient. Fine distilled the essence of the myth into a sonic drama expressed by contrapuntal lines enhanced by imaginative orchestration and flexible rhythms to complete the composer’s realization of Alcestis. Later she extracted sections of the ballet score to create an independent composition, an orchestral suite.....

The following synopsis of the ballet’s mythological story is taken from CRI’s original LP release: “Alcestis has sacrificed herself to Thanatos (Death) in order that her husband, Admetus, king of Thessaly, might attain immortality. While the house of Admetus mourns her demise, Hercules arrives. While the news of Alcestis’ death has been kept from him...Hercules indulges in a heroic, might we say Herculean, bout of feasting and drinking. When he learns, by the careless words of a servant, of her death, he engages mighty Thanatos in combat. Victorious, her returns Alcestis to her husband and her people.”

—Heidi Von Gunden, liner notes to “Vivian Fine,” CRI American Masters CD 692


Reviews

…the structures and lines are magnificently clean and very exciting.

American Record Guide, March, 1962


…the music of Vivian Fine gives [the ballet] consistent voice. Hearing and seeing, emotion and motor response become a unified process.

—John Martin, The New York Times, April 30, 1960


…highly intense…especially cogent in its dark orchestration….

—Arthur Cohn, The Music Magazine, February 1962
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