Prelude for String Quartet (Fine, Vivian)
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Performances
Recordings
complete piece
*#278862 - 1.17MB - 2:33 - (0) - - !N/!N/!N - 15x⇩
MP3 file (audio)
Rhymesandchymes (2013/4/26)
performers unknown
Vivian Fine estate
Creative Commons Attribution-NonCommercial-NoDerivs 3.0 [tag/del]
From an old recording with so-so audio quality. Uploaded because it's the only extant recording, to my knowledge.
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Sheet Music
Scores
Complete score
*#216898 - 0.48MB, 4 pp. - (0) - !N/!N/!N - 177x⇩
PDF typeset by Paul Hawkins
rhymesandchymes (2012/5/8)
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 | Prelude for String Quartet |
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| Alternative Title |
| Composer | Fine, Vivian |
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| Movements/Sections | 1 movement |
| Year/Date of Composition | 1937 |
| First Performance | 1939-03-26, New York City, Town Hall Club, League of Composers’ Concert. Frederick Dvonch, Dorothy Kesner, violins, Edward Neikrug,viola, and George Neikrug, cello |
| Average Duration | 2 3/4 minutes |
| Piece Style | Modern |
| Instrumentation | 2 violins, viola, cello |
Misc. Comments
Sessions did not go in for fulsome praise. “I like it” was for him quite a compliment. However, he was much taken by the opening of [Prelude for String Quartet]. He said he wished he could have written it and said I had “aural vision.” This remark sustained me for many years.
- —Vivian Fine, quoted in Heidi Von Gunden, The Music of Vivian Fine, Scarecrow Press, 1999, 25
Prelude for String Quartet is similar to Piece for Muted Strings in terms of gesture, meter, tempo and tonality, but demonstrates how Fine broke the reins of tonality. Her acute hearing was able to take a simple motif…and expand it into long sinuous lines. Although the Prelude has an A major key signature and does end on an A major triad, tonality is not a constraint. The Prelude’s beginning has a spaciousness that suggests a longer piece (it is a mere thirty-four measures)…. Although the Piece for Muted Strings and the Prelude work well as a pair, they were not originally intended as such.
- —Von Gunden, The Music of Vivian Fine, 26-27
