Concerto for Piano Strings and Percussion (Fine, Vivian)

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Performances

Recordings

 Complete perfprmance
#239943 - 19.08MB - 10:25 -  10.0/10 2 4 6 8 10 (1) - - !N/!N/!N - 151x

MP3 file (audio)
rhymesandchymes (2012/7/2)

Performer Pages:

Vivian Fine (piano and percussion)

Publisher Info.:

Vivian Fine Estate

Copyright:

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

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Sheet Music

Scores

 Complete Score and instructions
#173635 - 2.48MB, 25 pp. -  2.0/10 2 4 6 8 10 (1- !N/!N/!N - 344x

PDF scanned by Paul Hawkins
Peggy Karp (2012/1/26)

PMLP306616-Concerto for Piano Strings and Percussion.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:

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General Information

Work Title Concerto for Piano Strings and Percussion (One Performer)
Alternative Title
Composer Fine, Vivian
Year/Date of Composition 1972
First Performance 1973-4-15 in New York, Finch College Concert Hall, Vivian Fine, piano and percussion
Average Duration 10-11 minutes
Piece Style Modern
Instrumentation piano, percussion (single performer)
External Links Vivian Fine website


Misc. Comments

  • Composer's note to the score:
The Concerto was written to give myself a fairly long work to perform. It begins with a cadenza; a little later the first two-part Invention of Bach is recalled in a version played on the strings; there are passages of romantic surge, bell-like sonority, sea-like roars. The percussion instruments reinforce the angers and woes. The pianist acts: [she] works on the keyboard and innards and at the same time has an attitude of not being totally involved with herself in the serious business of being a pianist.
  • Heidi Von Gunden, The Music of Vivian Fine, Scarecrow Press, 1999:
The Concerto exploits pianistic technique to the fullest by transferring piano gestures to various parts of the instruments. The piece begins with resounding bounced, plucked, and scratched interior sounds that gradually move to pentatonic keyboard riffs in contrary motion. Gradually the performer’s movements incorporate the percussion instruments that surround the piano. Fine reported that it is not long before the audience is befuddled and begins to wonder who is the soloist in this Concerto—the keyboard, strings, or percussion. By page 6 of the manuscript, several minutes into the piece, Fine quotes Bach’s first two-part invention. It begins with the opening motive played on the keyboard and then transfers to the interior with the following instructions: “Play firmly on strings with fingers. Exact pitches are not required, but play in the indicated register and keep the relative relationships indicated.” It is at this point that the audience realizes that the piece is a spoof and begins to appreciate Fine’s humor. Since she wrote it for herself, she incorporated all of her own virtuosic technique, which she executed seriously, so that her performance became a theater piece. In fact, it was so difficult to play, Fine memorized it. The piece is well made with exact performance details, and frequent tempo changes (twenty-seven) shape the material. There is no improvisatory or aleatoric procedure. Instead, gestures are expanded, and an impressive keyboard cadenza precedes a short recapitulation.

Reviews

The composer also gave the first performance of her Concerto for Piano Strings and Percussion in which she functioned as one-woman band….the Concerto was absorbing in its aural sensitivity, and in its tongue-in-cheek manner.

—Donal Henahan, The New York Times, April 17, 1973

…Fine extracted every possible kind of sound from the piano, using the keyboard and sundry other means….As an experiment in sonics this piece was highly effective…[and] while quite free in form, still held together.”

—Edward French, Knickerbocker News, November 21, 1974
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