Hymns (Fine, Vivian)

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Performances

Recordings

 1. Aeolus, god of the winds
#252723 - 4.52MB - 2:28 -  0.0/10 2 4 6 8 10 (0) - - !N/!N/!N - 70x

MP3 file (audio)
rhymesandchymes (2012/9/29)

 2. Toward a distant shore
#252724 - 10.53MB - 5:45 -  0.0/10 2 4 6 8 10 (0) - - !N/!N/!N - 30x

MP3 file (audio)
rhymesandchymes (2012/9/29)

Performers:

Joan Stein and Betty Rosenblum, pianos,
Maxine Neuman, cello, Maria Lattimore, horn

Publisher Info.:

Vivian Fine estate

Copyright:

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

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Sheet Music

Scores

 Score
#195342 - 2.41MB, 21 pp. -  0.0/10 2 4 6 8 10 (0- !N/!N/!N - 193x

PDF scanned by Paul Hawkins
rhymesandchymes (2012/3/30)

PMLP334857-Hymns 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.

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General Information

Work Title Hymns
Alternative Title
Composer Fine, Vivian
Movements/Sections 2 movements:
1. Aeolus, god of the winds
2. Toward a distant shore
Year/Date of Composition 1991
Average Duration 8 1/2 miinutes
Piece Style Modern
Instrumentation 2 pianos, horn, cello


Misc. Comments

A hymn…originally meant a form of “woven” or “spun” speech. Although the etymology is not Greek but Asiatic, the word derives from a Greek word for weaving, hyphainein.

—from The Homeric Hymns by Charles Boer. Composer’s note to the score

The idea of weaving reflects Fine's tendency to self-borrow. The first movement is from Poetic Fires and the second incorporates patterning and sketches from Drama's Jealousy. Fine stated that since compositions were often heard only once, she had no objections to rewriting for different instrumentation.

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