4 Songs (Fine, Vivian)

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Contents

Performances

Recordings

MP3 file (audio)
Rhymesandchymes (2012/6/28)

MP3 file (audio)
Rhymesandchymes (2012/6/28)

MP3 file (audio)
Rhymesandchymes (2012/6/28)

MP3 file (audio)
Rhymesandchymes (2012/6/28)

Performers Sandra Sliker-Bouman, soprano
Yemoine Guibbory, David Gusakov, Evelyn Reed, Morris Block, string quartet
Publisher Info. Vivian Fine Estate
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Sheet Music

Scores and Parts

PDF typeset by Slawomir Dabrow...
Rhymesandchymes (2011/6/7)

PDF typeset by Slawomir Dabrow...
Rhymesandchymes (2011/6/7)

PDF typeset by Slawomir Dabrow...
Rhymesandchymes (2011/6/7)

PDF typeset by Slawomir Dabrow...
Rhymesandchymes (2011/6/7)

PDF typeset by Slawomir Dabrow...
Rhymesandchymes (2011/6/7)

Publisher. Info. Vivian Fine Estate
Copyright
Misc. Notes Request Licenses from ASCAP
Report performances to Vivian Fine Estate
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PMLP213841-Four Songs.pdf
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General Information

Work Title 4 Songs
Alternative. Title
Composer Fine, Vivian
Movements/SectionsMov'ts/Sec's 4 songs:
  1. The Lover in Winter Plaineth for the Spring
  2. Comfort to a Youth That Had Lost His Love
  3. She Weeps over Rahoon
  4. Tilly
Year/Date of CompositionY/D of Comp. 1933
First Performance. 1932-02-05
New York: French Institute, League of Composers Concert
First Publication. 1933 – in New Music
Librettist 3 authors
  1. Anonymous (16th century)
  2. Robert Herrick (1591-1674)
  3. James Joyce (1882-1941), from Pomes Penyeach
  4. James Joyce (1882-1941), from Pomes Penyeach
Language English
Average DurationAvg. Duration 7 minutes
Composer Time PeriodComp. Period Modern
Piece Style Early 20th century
Instrumentation Mezzo-soprano and string quartet
External Links Vivian Fine website


Misc. Comments

Reviews

...astonishing, fully mature, intelligent, inspired pieces written by a 20-year-old using melodic and contrapuntal procedures very like those revealed in last Sunday’s all-Fine concert to be her present manner. The text-setting is marvelous. Only Virgil Thomson’s setting of the English language rivals it among 20th century composers. It is natural, perfectly speech-like, yet measured and expressive.

—Charles Shere, The Oakland Tribune, January 15, 1983