Sounds of
the Nightingale… is a further step in
[Fine’s] expansion of timbre and texture. The piece
consists of independent layers of birdsong as portrayed
by an ensemble of flute, alto flute, oboe doubling on
English horn, clarinet, bass clarinet, French horn,
piano, percussion (tuned tom-toms, woodblocks, suspended
cymbal and tissue paper), two violins, two violas,
soprano, and the female chorus. Each birdsong is scored
meticulously, with appropriate attacks, dynamic changes,
and other nuances, to recreate the sounds she wanted.
Differing simultaneous tempi, such as the quarter-note =
66 for the soprano, 54 for the choral group and piano, 80
for the English horn and strings, and 60 for the French
horn, create the layering and independence of materials
she desired. Strategic entrances are cued by the
conductor, and, at times, entrances are numbered in thick
textures to ensure the kinds of timbre and tenure
mixtures she wanted. Although the birdsongs are not
labeled, Fine’s meticulousness resembles that of
Messiaen’s in scoring birdsong. Nothing is left to
chance, and Fine knew exactly what she wanted to hear in
her piece.
–Heidi Von Gunden,
The Music of Vivian Fine, Scarecrow Press,
1999