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