Faà di Bruno, Giovanni Matteo [Horatio, Orazio] 83
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- Bu səhifədəki naviqasiya:
- Fine [Van Eynde, Von Ende], Arnoldus de
- BIBLIOGRAPHY
- Fine, Irving (Gifford)
- WORKS
Fine(It.: ‘end’). An indication of the point at which a piece finishes, used particularly in those forms (e.g. in da capo arias or minuet and trio movements) where the notation ends with the second section, but the performance ends with the repeat of the first. ROBERT DONINGTON
Fine was highly regarded by his own and the next generation (see e.g. H.M. Ravn, Heptachordum danicum, 1646), but very little of his music has survived, all German sacred lieder for four voices. A well-written and effective setting in cantional style of Wann mein Stündlein vorhanden ist occurs in the Flensburg collection (D-FLs Mus.ms.4, ed. O. Kongsted, Liber cantionum, i, Copenhagen, 1993). A similarly shapely setting of Das alte Jahr vergangen ist must have been very popular at the end of the 16th century, as contemporary copies are found in a number of European libraries (e.g. D-Dl, Z). Ich hab mein Sach tzu Got gestelt was attributed to Fine in a transcription in the collection of Otto Kade (D-SWl 4757/25), but the original manuscript (in D-DL Mus. Pi Cod. III, no.7) was badly damaged during World War II and the attribution can no longer be seen. No compositions have survived in Danish sources. Fine's descendants are very numerous in the Danish-Norwegian monarchy. One son, Petrus Arnoldi de Fine (d 1620) was a singer in the royal chapel; another, Arnoldus de Fine, was an instrumentalist in the chapel from 1603 to 1627.
OLE KONGSTED Fine, Irving (Gifford)(b Boston, 3 Dec 1914; d Boston, 23 Aug 1962). American composer, teacher and conductor. He studied composition with Hill and Piston at Harvard University (BA 1937, MA 1938), and later worked with Boulanger and studied conducting with Koussevitzky. He taught at Harvard (1939–50) and was then appointed to the faculty of Brandeis University; at the time of his death he was Walter W. Naumburg Professor of Music and chairman of the Brandeis School of Creative Arts. From 1946 to 1957 he also served on the composition staff of the Berkshire Music Center. His awards included two Guggenheim Fellowships, a Fulbright Research Fellowship, an award from the National Institute of Arts and Letters and several MacDowell Association grants. His commissions included those from the Ford Foundation, the Library of Congress, the Koussevitzky Foundation, the Juilliard School and the American League of Composers. Copland included Fine in what he called the American ‘Stravinsky School’; indeed, some of Fine's early works were influenced by Stravinsky as well as by Hindemith. Although his style was essentially dissonant, he did not come to grips with serialism until the String Quartet (1952) in which he felt that he had combined his earlier, tonal approach with the then new technique; the Fantasia for string trio (1956) is similar in style. In later works Fine's strongest interest appeared to be in contrapuntal and rhythmic organization, but he continued to experiment with serialism. His turning to 12-note methodology may have been brought about by a reassessment of his own neo-classicism and a liking for more contemporary practices. He wrote articles and reviews for Modern Music, Notes, Musical America and the New York Times. WORKS
BIBLIOGRAPHYEwenD VintonD V. Thomson: Review of Toccata, New York Herald Tribune (16 Jan 1949) A. Berger: ‘Stravinsky and the Younger American Composers’, The Score, no.12 (1955), 38–46; repr. in The American Composer Speaks, ed. G. Chase (Baton Rouge, LA, 1966), 202–15 D. Epstein: ‘Irving Fine: Symphony (1962)’, PNM, iii/2 (1964–5), 160–4 L. Rickert: Selected American Song Cycles for Baritone Composed since 1945 (DMA diss., U. of Illinois, 1965) H. Pollack: Harvard Composers: Walter Piston and his Students, from Elliott Carter to Frederic Rzewski (Metuchen, NJ, 1992) CHARLES H. KAUFMAN Yüklə 17,54 Mb. Dostları ilə paylaş:
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