Melos (Fine, Vivian)

Free public domain sheet music from IMSLP / Petrucci Music Library
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Performances

Recordings

 Complete Performance
#176422 - 8.05MB - 4 minutes -  0.0/10 2 4 6 8 10 (0) - - !N/!N/!N - 320x

MP3 file (audio)
Peggy Karp (2012/2/6)

Performers:

Andrew Kohn, doublebass

Publisher Info.:

Andrew Kohn, used with permission

Copyright:

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

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Sheet Music

Scores

 Complete score
#176421 - 0.35MB, 2 pp. -  0.0/10 2 4 6 8 10 (0) - !N/!N/!N - 518x

PDF scanned by Paul Hawkins
Peggy Karp (2012/2/6)

PMLP310434-Melos.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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Report performances to Vivian Fine Estate

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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
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