...Fine
herself characterized her early style of composition as
stark, linear, extremely dissonant, and atonal; Four
Polyphonic Pieces exemplifies this manner of
writing.
Three major features
dominate this early piano work: the use of canons, the
predominance of tritons and seconds, and the manipulation
of rhythm and meter. Form becomes secondary to these
elements, and is generated by the astute handling of
contrapuntal devices, rhythmic groupings, metric freedom,
and intervallic treatment. Although each piece is unique
and has its own character and particular emphasis, the
four pieces reveal several unifying features. The entire
work, as the title suggests, is a study in polyphony;
three out of the four pieces employ extensive canons. All
except the last are for three voices, and the favorite
contrapuntal device utilized is inversion. Following
Scriabin and Crawford’s examples, Fine uses no key
signatures. The pieces are panchromatic, highly
dissonant, and atonal, though tonality is occasionally
suggested by the manipulation of intervals and various
pitch sets. Similarities to Scriabin and Crawford can
also be found in areas of rhythm and meter. Metric shifts
and rhythmic patterns that ignore the barline contribute
to a feeling of seamlessness and the weakening of a
regular pulse. Fine relies heavily on syncopation,
repetition of rhythmic motives, and complex rhythmic
groupings as a means of accomplishing this goal.
Melodically, Fine displays an affinity for balance and
symmetry. She uses conjunct and disjunct melodic movement
equally, but within a framework that clearly emphasizes
balancing ascending and descending motives, phrases, or
statements. In her melodic writing, one is reminded of
Vivian Fine’s pianistic abilities and her interest
in Scriabin. Large melodic leaps, coupled with widely
spaced chords divided between the hands, and the use of
extreme ranges of the keyboard require a large hand span
or adeptness in covering a considerable space quickly. By
writing similar harmonic structures, rhythmic patterns,
and common intervals within a contrapuntal framework,
Fine unifies and links the four pieces into a complete
set.
-Leslie Jones, “The Solo Piano Music of Vivian
Fine,” Doctor of musical arts thesis, University of
Cincinnatti, 1994.