L I S T         O F         W O R K S


Elaine Fine's music from 2007 and 2008:

Prairie Snow (solo piano) December 2007
Cloud 999 (violin and piano) April 2008
Two Pieces for Viola and Piano (viola and piano) May 2008
Sonata for Euphonium and piano September 2007

Arrangements of Medieval music:

Lamento di Tristano (flute, bass clarinet, French horn, percussion, and viola) May 2008
When I See Winter Return (piccolo, bass clarinet, French horn, percussion, and viola) May 2008

Score and part PDF files of all the above pieces are available from American Music Center page

Published music:

Harlequin Sonata (contrabassoon and piano) December 2006 (Published by Jeanne) www.jeanne-inc.com
Serenade for Oboe and Strings (oboe and strings) January 2007 (Published by Seesaw)
More Greek Myths (contrabassoon and piano) February 2007 (Published by Jeanne) www.jeanne-inc.com
Little Suite for Solo Euphonium (solo euphonium) April 2007 (Published by Seesaw)
Piccolo Sonata (piccolo and piano) May 2007 (Published by Seesaw)
Music for Recorder and Four Drums (alto recorder and four drums) July 2007 (Published by Seesaw)

Commissioned music awaiting performance:

There are things I just don't understand (English horn and strings) December 9, 2006
Duet for Oboe and Bassoon (oboe and bassoon) December 2007 (will be performed June 28, 2008)
Four Postcards for Piano Trio (violin, cello, and piano) January 2008
Venetian Variations for String Orchestra 2007 (will be performed on July 24, 2008)


List of Compositions as of October, 2005:

The music on this list is published by Theodore Front and the Subito Music Corp.

phone: (973) 857-3440, which is the Subito customer service number

Most of Elaine Fine's music published by Subito is not yet in their online catalog. The only way to get it is by calling them.


Operas, Intermezzi, and Chamber Music with Voice
Settings of stories by Hans Christian Andersen

The Teapot (Hans Christian Anderson: soprano, tuba, and piano) December 2007 (Published by Seesaw)

Sister Beatrice, an opera in one act based on a play by Maurice Maeterlinck, January 2004     [more information]

Emma an opera based on the 1986 play by Howard Zinn about Emma Goldman.

(begun in October 2004 and completed in March 2005)

Music by Elaine Fine, libretto by Elaine Fine and Howard Zinn
Duration 2 hours

Emma is a two-act opera based on the play with the same name by Howard Zinn (revised in 1987) about the American Anarchist Emma Goldman (1869-1940). The narrative of the opera is woven from relationships and events in Goldman's autobiography Living My Life. It is at once a story of a passionately-driven social and political reformer, and the story of a woman torn between her feminist ideals and her vulnerability in matters of love.

The action of the opera begins 1887 when Emma is an 18-year-old factory worker in Rochester and ends in 1917 when, at age 48, she is about to be exiled to Russia.

The music is mainly tonal with a musical color that often evokes the Yiddish theatre of the early 20th century.

Cast list:
Principals: Emma Goldman, mezzo-soprano; Alexander Berkman, baritone; Fedya (Modest Stein), tenor; Johann Most, tenor; Ben Reitman, baritone; Anna Minkin, soprano; Vito, bass-baritone.

Additional characters: Jenny, Rose, Dora (factory workers) Vogel (factory foreman); J. Edgar Hoover, Henry Clay Frick; Thomas Gregory; Newspaper reporter, Receptionist; a chorus of workers, strikers, and police.

Instrumentation: clarinet, trumpet, piano, violin, cello, and percussion.

The music for this opera is available through the Emma Goldman Papers at the University of California, Berkeley. Go to sunsite.berkeley.edu to find out more about the Emma Goldman Papers.

The Happy Family (narrator, viola, bass clarinet, and piano) May 2005

A setting of a story by Hans Christian Andersen. This is a charming story about the very last couple of edible snails living in a burdock forest and their hopes for the future.

The Snail and the Rosebush (narrator, clarinet, and piano) October 2004

This is a setting of a story written by Hans Christian Andersen that concerns a rosebush, who leads an unexamined life producing roses, and a snail who criticizes her and finally retreats into his own shell.

The Snow Queen, an opera in three acts (April 2002)

In this setting of Andersen's story the motivation of the malevolence of the Snow Queen comes from the character of Skadi in Norse mythology, and elements of the "Edda" are grafted into the story. The opera is scored for chamber orchestra , four singers (soprano, mezzo-soprano, contralto, tenor) who each play multiple roles, and four dancers. The opera takes around 75 minutes to perform. [more information]

The Pen and the Inkwell, an Intermezzo for Soprano,Tenor, Baritone, Violin, and Piano (July 2003)

This setting has the texture of a baroque cantata (I imagined Bach's Coffee Cantata) where the violin voice plays a significant part in the drama. It lasts around 18 minutes.

The Bird Phoenix (Soprano, flute, harp, violin, and viola) June 2003

The soprano in this story setting serves strictly as the story teller while the instruments illuminate the substance of the story.

Song of Songs

These Song of Song settings are indulgent and sensuous. They can be performed as a group or individually, and can be sung by a mezzo-soprano, a countertenor, or a baritone.

I will sing the song of all songs (medium voice, alto flute, viola, and harp)
Tell me my true love (medium voice, flute, viola, harp)
Under the apricot tree (medium voice, bass flute, viola)

The Gloves, text by Laurence Sterne (baritone, flute, cello, and harpsichord) February 2003

This text comes from Laurence Sterne's "A Sentimental Journey Through France and Italy" published in 1768. It concerns a man who walks into a glove shop and has a fleeting emotional experience worthy of music written in the sentimental style of the period. The baritone acts as the narrator of the story.


Orchestra and Wind Ensemble Music

Prologue and Lachrimae (for orchestra) November 2002

The Lachrimae uses material that Dowland used in his Lachrimae. Unlike Renaissance settings, this Lachrimae attempts to show the power of tears to overcome tragedy rather than the power of tears to render us eternal victims of it.

The Dachstein (for full orchestra) June 2002

The Dachstein (orchestrated for Large Wind Ensemble) May 2002


Chamber Music
Four new works recently commissioned, soon to be premiered:

1. Harlequin Sonata for contrabassoon and piano (December 2006) for Susan Nigro
2. More Greek Myths for contrabassoon and piano (February 2007) for Susan Nigro
both works will be premiered by Susan Nigro in the Fall of 2007

3. There are things I just don't understand for English Horn and Strings
        (December 2006) for John Dee
4. Serenade for Oboe and Strings (January 2007) for John Dee
both works will be premiered by John Dee


Fearful Symmetry, for violin and piano (2006)

-- Published by Seesaw, distributed by Subito.

Liliburlero (violin and harp) September 2005

This is a setting of the old Irish tune "Liliburlero" for violin and harp. I wrote it for my father to play with his wife, who is a harpist.

-- Published by Seesaw, distributed by Subito.

Lilacs (flute, clarinet, cello, and piano) October 2005

The premiere performance of "Lilacs" for flute, clarinet, cello, and piano, performed by (and written for) the Arcadia Chamber Players (Marina Antoline, clarinet; Mary Leathers Chapman, flute; Sylvia Liu, cello; and Debra Sutter, piano)

www.arcadiachamberplayers.org/

on Saturday, April 14th at 7:00, with and a second performance on Sunday, April 15th at 2:00 at the studio of Debra Sutter 306 E. Sherwin Circle Urbana, IL

I began this piece in 2004 as a setting of Amy Lowell's poem "Lilacs" for voice, cello, and piano and eventually became a piece of chamber music based on the vocal setting. It is dedicated to the Arcadia Chamber Players, and ensemble that is based in Champaign-Urbana Illinois.

Partly Sunny (violin and viola) October 2005

This is a technically accessible duet for violin and viola that I wrote for my friends Judith Ofcarcik and Sonny Pickowitz who are both accomplished musicians but are relatively new to the violin and the viola. The piece uses a lot of double stops (many with open strings) and as the title suggests alternates between the major and the minor mode.

Like and Inness Sky (bassoon, horn, and cello) October 2005

I wrote this piece along with "Partly Sunny," with the image in my mind's eye of the ominous skies that George Inness painted. The combination of bassoon, horn, and cello give the piece a particulary dark hue.

Sweet Suite (tenor saxophone and piano) June 2005

This is a piece written for my pianist friend John David Moore and his Saxophone-playing son Nicholas. Each movement of this five-movement suite has something to do with something suite. The movements are "Nicholas' Cake Walk," "Chocolate Fudge," "Boston Cream Waltz," "Dots," (a polka) "Baba al Rhum."

Luxury Suite for viola or cello and piano May 2005
This is a Suite in three movements: Populuxe (a tango), Opuluxe (an indulgent slower movement), and Technoluxe (a three-part bitonal invention).

Four Movements for Violin and Piano June 2004

These pieces are inspired by four "poem outlines" by Sidney Lanier. Lanier's poem outlines are impressions and ideas that he jotted down with the intention of developing them into full-blown 19th century poems. These four movements are musical impressions of Lanier's outlines. I wrote these pieces for my friend Helen Archer, who loves music.

Kubla Khan (soprano, bassoon, bongo drums, and piano) May 30, 2004

This is a straightforward, 13-minute, chamber music setting of Samuel Taylor Coleridge's poem.

Music for 1601 ...Conversation as it was by the Social Fireside in the Time of the Tudors... (two soprano recorders and contrabassoon)

Mark Twain's satirical (and completely obscene) play 1601 concerns sounds made by the body that can be copied most effectively by the contrabassoon.
These two short pieces, a Pavane and a Galliard, are written in a mock-Renaissance style. I like to imagine that the humor in the music is a bit more subtle than the humor in Twain's language.

Five Pieces for String Quartet based on Chassidic Melodies, 1995

These were written for the opening of the C.A.N.D.L.E.S. museum in Terre Haute Indiana, and are dedicated to its founder, Eva Kor.

Prologue and Lachrimae for String Quartet 2002

This is a string quartet version of the above orchestral piece.

Good-bye to Vienna (string quartet) (1982)

This piece is dedicated to the memory of Leo Wright who I met in Vienna in the early 1980s.

Elegy (string quartet) (1979)

This piece is dedicated to the memory of Gene Brewer

Sonata for Oboe, Viola, Percussion, and Mallet Instruments, 2000-2003

Ave Maris Stella, a parody after Josquin (six flutes, alto flute, and bass flute) October 2001

I wrote this piece with the misconception that the piece of chant at the beginning of the Ave Maris Stella by Josquin Des Pres was written by him, but later I learned that the Ave Maris Stella was written by an unknown composer during the 9th century.

Study for Woodwind Quartet, October 2001

This began as an attempt at twelve tone writing, but ended up being in a free kind of atonality.

Germaine (oboe, viola, and harp) 2001

This piece is an homage to Germaine Tailleferre (1892-1983), the only female member of the group of French composers known as "Les Six." She loved to write whimsical music in a neoclassical style, and is well known for her harp music.

Janus (flute, bassoon, and piano) February 2002

I began the piece in January at a point where I was starting to re-evalute my cornucopia of musical styles. Like Janus, the Roman symbol of comings and goings, this piece looks both forwards and backwards both in style and in the direction of its phrases.

Evening Music (two violins and viola), May 2002

It seems that a large amount of the small amount of music written for this combination of instruments goes by the name "Serenade." I decided to give this four-movement Serenade, with its mix of Hungarian music and a tango for three, an English title because of the sounds of "Big Ben" in the final movement.

Tango Mariposa (version for viola, cello, and harp)

The inspiration for this piece came from a Bolivian song called "Mariposa," which means butterfly. It incorporates a sense of Bolivian folk music into a rather straightforward tango with harp.

Introit a 4 (Three trombones and bass trombone) May 2002

This piece actually came to me in a dream while I was rehearsing for a performance of the Mozart Requiem. In the dream there were three trombones, but in this piece there are four.

Three Enigmas for Five Winds (woodwind quintet) September 2002

These pieces are puzzling, which is why they are called enigmas. They have nothing to do with Elgar, but they each have somewhat enigmatic material.

Woodwind Quintet September 2002

This is a three movement woodwind quintet.

Avez-vous des bonbons? (two violins and cello) February 2003

This one-movement piece was supposed to be part of a several-movement suite of sweet pieces representing candy. This one grew big enough to stand on its own without company, so its title suggests possibilities of sweets.

Two Pieces for Brass Quintet, 2003

Three Pieces for Bassoon and Strings, May 2003

I wrote these pieces for Kimbery Kelly, a bassoonist interested in writing about bassoon music written by women for her doctoral dissertation. Kim mentioned that she wished someone would write something pretty for the bassoon, so I set out to write the prettiest pieces I could. I derived ideas from Walter de la Mare's poem "Bunches of Grapes," and the titles of the movements come from lines in the poem. I originally wrote the pieces for bassoon and piano, but at Kim's suggestion I arranged them for bassoon and strings. The pieces work well with a string quartet or a string orchestra.

Flute Quartet, (three flutes and alto flute), August 2003

This piece is for four equal flute voices that cover the entire range of their instruments. I wrote this piece in the manner of a string quartet, concentrating on the likeness of the flute voices but differences in the colors of the flute registers.

Five Pieces for Flute, Oboe, Violin and Cello, February 2004

These are arrangements of the Five Pieces for String Quartet that I arranged for Uri Postavsky to play with his family.

Four Greek Myths   (Contrabassoon and Piano) April 1, 2004
These are lyrical, programmatic dialogues for contrabassoon and piano based on pairs of figures from Greek Mythology: Hades and Persephone, Pan and Syrinx, Echo and Narcissus, and Icarus and Daedalus.


Short Pieces

Song of the Limberlost (solo harp) October 2005

This is a one-movement work in three parts that is inspired by Gene Stratton Porter's novel "A Girl of the Limberlost.".

Elnora's Violin (solo violin) November 2005

This is another piece inspired by Gene Stratton Porter's novel. The heroine of the novel is a teenage girl named Elnora Comstock who, in the process of "coming of age," discovers that she has inherited a talent for playing the violin from her long-dead father who she never knew. I wrote this piece for Sharilyn Spicknall, a wonderful violinist from Indiana (the novel takes place around the swamps of Indiana).

The Solitary Cello (cello and piano) 2001

This short piece is based on a quotation from Dombey and Son, written by Charles Dickens in 1846. The passage concerns a confirmed bachelor who, at the end of the day, finds the most sublime company in his cello.

Tango Mariposa (version for viola and piano) July 2002

This is a viola and piano version of the trio for viola, cello, and harp. It is dedicated to Istvan Szabo.

In light we see, in light we are seen (flute and piano) November 2001

"In Light we See" comes from a reading about death from "Gates of Prayer." When we are alive we see and are seen because we live in a world of light. When we die we enter eternity and we are not seen and do not see because light is something of our earthly physical life and doesn't illuminate beyond what we experience with our physical senses.

On Such a Winter's Day (solo flute) November 2002

This is a two voice piece for solo flute with a notated vocal line that the flutist sings while s/he plays.

For Poulenc (flute and piano) August 8, 2003

This is a song I wrote to a text by Frank O'Hara that I transcribed for flute and piano in memory of my flute teacher Julius Baker.

Oh to be an angel   (clarinet and piano) April 16, 2004
This short piece is based on a song I wrote to a text by Frank O'Hara.

Inventions and Creations: Five Very Short Pieces for Piano, July 2004
  Invention
Suspended in Locos*
A Picture in Subaeolian Blue*
Subterfuge*
Afterword
*written for use in Dwight Winenger's Functional Chromaticism for the Keyboard. "Inventions and Creations" was performed February 25, 2007, at a concert by The Coles County Arts Council by John David Moore, piano.


Multi-movement works

Six Preludes (piano solo) January 2001

I wrote the Six Preludes for piano during the last six days of 2000, finishing the last one on New Year's Eve. That makes them some of the very last pieces of twentieth-century music.

Sonata Ostinato (piano solo) October 2002

This is a two movement work that, as its title suggests, focuses on the use of ostinato.

Sonata for Violin and Piano 2001

The Sonata for Violin and Piano takes its inspiration from violin music by Ravel, the Spanish Fandango, and from the Medieval music I was absorbed in while I was writing it. The inspiration of Paul Hindemith makes itself fairly obvious in the final movement. The piece is dedicated to Thomas LeVeck.

Duo for Clarinet and Piano 2000

I was inspired to write this piece by the playing of Giora Feidman and Harold Wright, as well as the Brahms clarinet sonatas.

Sonata for Trumpet and Piano 2002

This is a lyrical piece that explores the darker qualities of the trumpet's sound.

Sephardic Suite for Solo Cello (solo cello) March 2003

This three-movement suite includes a setting of an ancient Sephardic song and a veil dance.

Three Pieces for Bassoon and Piano, October 2002

This is the bassoon and piano version of the piece described earlier.

Sonata for Horn and Piano, November 2002

This three-movement sonata is written in the spirit of Paul Hindemith. Like the trumpet sonata it does not demand virtuosity in the traditional sense, but rather calls on the lyrical aspects of horn playing.

Sonata for Viola and Piano, February 2003

This is a three-movement piece in a rather traditional style (or a mix of traditions) that sounds like it is far more difficult than it is to play.

Three Pieces for Trombone and Piano from Poems by William Butler Yeats, August 2003

These pieces began as choral pieces, found their way into an arrangement for brass quartet and piano, regained their texts and became songs for baritone, and finally found their home as pieces for trombone and piano.

Cante Jondo: Five Pieces after Poems by Federico Garcia Lorca for Flute and Piano, August 2003

These pieces began as settings of poems by Lorca that eventually found their voice as pieces for flute and piano.

Prelude, Aria, and Burlesque (string bass and harpsichord) January 2004

This piece has a mixture of styles. The prelude is influenced by music of France in the early 20th century, and the Aria and Burlesque are inspired by sections of the harpsichord partitas by J.S. Bach.


Choral Works

Sonnet XVIII (E. B. Browning) (S.S.A. and piano) September 2003
Sonnet XXXIII (E. B. Browing) (S.S.A. and piano) September 2003

I wrote these for a university women's chorus made up of people who were relative beginners at choral singing.


Songs and Song Cycles

Come into the Garden, Maud, text by Alfred Lord Tennyson (baritone and piano) April 2003

This is a 17-minute-long setting of Tennyson's famous poem that is set in what I like to call "pre-Raphaelite" harmonic colors. It is demanding for the singer because of its length and emotional substance.

Three Longfellow Songs:       (medium voice and piano or high voice and piano) March 8, 2004
"The Day is Done"
"Afternoon in February"
"The Arrow and the Song"

Four Songs from Cynthia's Revels:       (Ben Jonson) for tenor and piano May 4, 2004
"Slow, slow, fresh, fount"
"O, that joy so soon should waste!"
"Thou more than most sweet glove"
"Queen and huntress, chaste and fair"


Unpublished Music

The Diamond Net, a play about Maud Allan by Rebecca Nesvet.

www.geocities.com/upstart_crow2/synopses

Piano Piece for Hasie 2001

Sweet Dancer for Medium voice and piano (William Butler Yeats) June 2003

Three Frank O'Hara Songs, (mezzo-soprano and piano) 2000
"An Airplane Whistle,"
"For Poulenc,"
"Oh to be an Angel"

Two Agee Songs, (tenor and piano) 2000
"No Room"
"Sad Heart"

Cante Jondo, Six Poems by Federico García Lorca (Medium voice and piano) May 2002

"The Tiger" (S.A.T.B. a capella) 1998

"The Whole Magilla" three Purim songs for children, 1996

Two Settings of texts from The Song of Songs 2001-2002
"I am the rose of Sharon" (S.A.T.B. a capella)
"Arise my darling" (S.A.T.B. a capella)

Made in Hungary (reader, flute, violin, viola, and mandolin), 1996

Introit a 4 recorders (version for four recorders or flutes) June 2002

Essay for Chamber Orchestra, October 2001


Electronic Music

"Imagine Happiness"

This is one of 60 pieces that is part of the Vox Novus 60X60 project (60 pieces by 60 composers that are all under 60 seconds in length)


Upcoming Performances

Saturday, April 14th at 7:00 and Sunday, April 15th at 2:00

The premiere performance of "Lilacs" for flute, clarinet, cello, and piano, performed by (and written for) the Arcadia Chamber Players (Marina Antoline, clarinet; Mary Leathers Chapman, flute; Sylvia Liu, cello; and Debra Sutter, piano)

www.arcadiachamberplayers.org/

on Saturday, April 14th at 7:00, with and a second performance on Sunday, April 15th at 2:00 at the studio of Debra Sutter 306 E. Sherwin Circle Urbana, IL

Fall, 2007

Four new works recently commissioned, soon to be premiered:

1. Harlequin Sonata for contrabassoon and piano (December 2006) for Susan Nigro
2. More Greek Myths for contrabassoon and piano (February 2007) for Susan Nigro
both works will be premiered by Susan Nigro in the Fall of 2007

3. There are things I just don't understand for English Horn and Strings
        (December 2006) for John Dee
4. Serenade for Oboe and Strings (January 2007) for John Dee
both works will be premiered by John Dee





C O N T A C T             I N F O R M A T I O N


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  Elaine Fine can be reached at:


        2409 Terrace Lane
        Charleston, IL 61920 USA
        217-345-4310
        elainefine@gmail.com


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