Melos (Fine, Vivian)
|
|
|---|
Performances
Recordings
Complete Performance
*#176422 - 8.05MB - 4 minutes - (0) - - !N/!N/!N - 174x⇩
MP3 file (audio)
Peggy Karp (2012/2/6)
Andrew Kohn, doublebass
Andrew Kohn, used with permission
Creative Commons Attribution Non-commercial No Derivatives 3.0 [tag/del]
Javascript is required for this feature.
Sheet Music
Scores
Complete score
*#176421 - 0.35MB, 2 pp. - (0) - !N/!N/!N - 271x⇩
PDF scanned by Paul Hawkins
Peggy Karp (2012/2/6)
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.
Request Licenses from ASCAP
Report performances to Vivian Fine Estate
Javascript is required for this feature.
General Information
| Work Title | Melos |
|---|---|
| Alternative Title |
| Composer | Fine, Vivian |
|---|---|
| Year/Date of Composition | 1964 |
| First Performance | 1964-04-08 in Bennington College, Vermont, Bertram Turetzky, double bass |
| Dedication | Bertram Turetzky |
| Average Duration | 6 minutes |
| Piece Style | Modern |
| Instrumentation | double bass |
Misc. Comments
Fine had another opportunity to write for strings when bassist Betram Turetzky came to Bennington in 1964….Turetzky was eager to play new works, and Fine took the opportunity to write a solo piece. Fine uses the double bass traditionally, without any extended techniques. There are no double stops, unusual bowings, percussive or speech sounds, and only one harmonic. Instead, she chose to have her piece be a character study. It begins traditionally with the melodic shapes and long lines she often uses, but then the emotional quality changes. markings indicate “tranquillo,” then a sudden “espressivo” associated with dynamic fluctuations from pp to mf happening every two or three pitches, a long “piu intenso” phrase is followed by an active “con nobilità” passage. The closing portion of Melos is “con slennità” that is transformed into “misurato” for its final phrase. Turetzky is such a dramatic performer that one could imagine appropriate body language associated with Melos that would add touches of humor that are not foreign to Fine’s music.
–Heidi Von Gunden, The Music of Vivian Fine, Scarecrow Press, 1999
