The
          Capriccio marks a new stage in Fine’s
          writing—her music is more freely dissonant, key
          signatures disappear, and tonal references are rare. As a
          result she stresses melodic line, the talent that was so
          apparent in her early music….Rather than a
          collection of short movements, the piece is designed as
          one long movement divided into several sections. Each
          instrument has prominent melodies, sometimes solo and
          sometimes accompanied, some of which Fine sets as
          canons.
          
          -Heidi Von Gunden, The Music of Vivian Fine, Scarecrow Press,
          1999