Fantasy for Cello and Piano (Fine, Vivian)
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Performances
Recordings
Complete performance
*#202025 - 4.35MB - 9 1/2 minutes - (1) - - !N/!N/!N - 83x⇩
MP3 file (audio)
rhymesandchymes (2012/4/10)
Maxine Neuman, cello and Joan Stein, piano
Vivian Fine Estate
Creative Commons Attribution Non-commercial No Derivatives 3.0 [tag/del]
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Sheet Music
Scores
Complete score
*#202023 - 2.88MB, 13 pp. - (2) - !N/!N/!N - 119x⇩
PDF typeset by Paul Hawkins
rhymesandchymes (2012/4/10)
Cello part
*#202024 - 0.72MB, 5 pp. - (0) - !N/!N/!N - 100x⇩
PDF typeset by Paul Hawkins
rhymesandchymes (2012/4/10)
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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General Information
| Work Title | Fantasy for Cello and Piano |
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| Alternative Title |
| Composer | Fine, Vivian |
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| Year/Date of Composition | 1961 |
| First Performance | 1970-02-13, Carnegie Recital Hall, New York City, John Thurman, cello, Robert Guralnick, piano |
| Average Duration | 9 1/2 minutes |
| Piece Style | Modern |
| Instrumentation | cello and piano |
Misc. Comments
The idiom is a kind of musical abstract expressionism: dramatic contrasts grow out of materials stated at the outset, developed with lyrical freedom combined with a degree of composerly rigor.
- —Vivian Fine, note to the score
Rarely does Fine make such a statement about her music, but this one shows she realizes that her early severe modernistic style had evolved to an abstract expressionism, allowing her complete aural freedom, which she expresses as a ‘fantasy,’ a new term in her catalog. The composition has sudden texture changes, which produce dramatic contrasts within a seamless structure. Subtle dovetailing, such as elisions, join one section to another. Generally, the cello and piano function as equals, sometimes exchanging material, sometimes accompanying each other, or playing in unison.
One of the most interesting aspects about Fantasy is the growth and development of beginning material that states four ideas: a lyric line marked ‘with serene intensity,’ a powerful melody highlighted with accents and marcatos, chordal punctuations, and tremolo figures. These ideas are developed progressively, a feature not often found in Fine’s music, and her statement about ‘composerly rigor’ is accurate.
- —Heidi Von Gunden, The Music of Vivian Fine, Scarecrow Press, 1999
Reviews
The Fantasy is a strongly structured work in one movement with five changes of tempo, the Allegro and Presto sections being virtuosic in style, contrasting with the lyricism and expressivity of the slower sections. The composer notes that ‘there are no themes or motives, the musical material evolving freely.’ A work of power and originality.
- —Marion Morrey Richter, Music Clubs Magazine, Spring, 1970
A pleasure to think about…a joy to listen to…contemporary music that you don’t have to kid yourself into liking.
- —David Spengler, The Record, November 3, 1975
