Capriccio for Oboe and String Trio (Fine, Vivian)

		Movements/Sections 1 movement Composition Year 1946 Genre Categories Capriccios; For oboe, violin, viola, cello; Scores featuring the oboe; Scores featuring the violin; Scores featuring the viola; Scores featuring the cello; For 4 players

Performances

• Recordings (1)

Recordings

 Complete performance
*#239466 - 19.65MB - 10:44 -  0.0/10 2 4 6 8 10 (0) - - !N/!N/!N - 181x⇩

MP3 file (audio)
rhymesandchymes (2012/6/30)

Performers:

unknown

Publisher Info.:

Vivian Fine Estate

Copyright:

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

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Sheet Music

• Scores and Parts (2)

Scores and Parts

 Complete score
*#191348 - 4.05MB, 23 pp. -  7.0/10 2 4 6 8 10 (2) - !N/!N/!N - 418x⇩

PDF scanned by Paul Hawkins
rhymesandchymes (2012/3/21)

 Complete parts
*#191349 - 2.69MB, 18 pp. -  0.0/10 2 4 6 8 10 (0) - !N/!N/!N - 251x⇩

PDF scanned by Paul Hawkins
rhymesandchymes (2012/3/21)

Publisher Info.:

Vivian Fine Estate

Copyright:

Performance Restricted Attribution Non-commercial No Derivatives 1.0 [tag/del]

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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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General Information

Work Title	Capriccio for Oboe and String Trio
Alternative Title

Composer	Fine, Vivian
Movements/Sections	1 movement
Year/Date of Composition	1946
First Performance	1948-04-17 in New York City, ICSM Forum Group Lois Wann, oboe, Sherman Goldscheid, violin, Sol Greitzer, viola, and Eula Schock, cello
Average Duration	10 1/2 minutes
Piece Style	Modern
Instrumentation	oboe, violin, viola, cello

Misc. Comments

The Capriccio marks a new stage in Fine’s writing—her music is more freely dissonant, key signatures disappear, and tonal references are rare. As a result she stresses melodic line, the talent that was so apparent in her early music…. Rather than a collection of short movements, the piece is designed as one long movement divided into several sections. Each instrument has prominent melodies, sometimes solo and sometimes accompanied, some of which Fine sets as canons.

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