SKU: BT.EMBZ8065

Hungarian-English-German-French.

Frigyes Sándor (1905-1979), violinist, teacher and conductor. His six-volume Violin tutor was published between 1949 and 1959, and has remained popular ever since. One reason for its popularity - in addition to its methodological concept may be the fact that from the very beginning learners are given high quality musical material on which to master the basic elements of violin playing. The musical material in the volumes was written specifically for this tutor by Pál Járdányi and Endre Szervánszky apart from pieces designed for pedagogical purposes it includes a wealth of folk tunes (Hungarian and other European folk melodies) graded to suit each level of difficulty, andexcerpts representing different periods in the history of music.

Die Beliebtheit der von Frigyes Sándor (1905-1979), Violinist, Lehrer und Dirigent zwischen 1949 und 1959 veröffentlichten Violinschule in sechs Bänden ist ungebrochen. Das bewährte methodische Konzept und das von Anfang an hochwertige musikalische Übungsmaterial (von Pál Járdányi und Endre Szervánszky) überzeugen noch heute. Neben den reinen Übungsstücken enthalten die Bände eine Fülle an volkstümlichen Melodien aus ganz Europa und Stücke aus verschiedenen Epochen, jeweils dem Schwierigkeitsgrad angepasst.

SKU: CF.PCB119

ISBN 9780825803024. UPC: 798408003029. 9 X 12 inches.

SKU: HL.14028046

ISBN 9788759859377. 9.5x14.25x0.12 inches. International (more than one language).

Score available: KP00247 Ruders writes: Quartet No. 3 Motet was written in 1979, commissioned by the Lerchenborg music-week of 1979 during which it was first performed by Quatuor Bernede. This short one-movement quartet is a kind of modernization of the 14th century French motets, a cadeau to this weird and fantastic music whose abstract and almost deprecatory, introvert expression appears unaccountably modern and incredibly ancient at the same time. Motet is a sober, cool treatise on rhythm and statics, depicted in a Gothic, crypt-like atmosphere. The almost completely non-vibrato movement is suggestive of boys' choir, monks' processions, and the piercing sound of musical glasses. An ancient world is reborn and becomes the world of today.

SKU: CF.AS66F

ISBN 9781491154649. UPC: 680160913190. 9 x 12 inches. Key: Eb major.

The new Masterworks Series by Carl Fischer Music will showcase arrangements of 20th Century American composers. Symphony No. 2 by Howard Hanson is one of the most popular American Symphonies ever written, and is played regularly by major symphony orchestras around the world. It was originally commissioned by the Boston Symphony Orchestra to celebrate their 50th anniversary in 1930, where it was given its first performance. The work was most famously used in the end credits of the movie Alien in 1979. This arrangement focuses on the hauntingly beautiful second theme of the first movement. After being stated in the key of E-flat Major, it provides a contrasting section before returning in the key of D-flat Major. Cellos are featured prominently in tenor clef, and often cover the soaring horn solos from the original. Musicians will experience true symphonic beauty in this exquisite arrangement for strings and harp.
The new Masterworks Series by Carl Fischer Music will showcase arrangements of 20th Century American composers. Symphony No. 2 by Howard Hanson is one of the most popular American Symphonies ever written, and is played regularly by major symphony orchestras around the world. It was originally commissioned by the Boston Symphony Orchestra to celebrate their 50th anniversary in 1930, where it was given its first performance. The work was most famously used in the end credits of the movie Alien in 1979. This arrangement focuses on the hauntingly beautiful second theme of the first movement. After being stated in the key of E-flat Major, it provides a contrasting section before returning in the key of D-flat Major. Cellos are featured prominently in tenor clef, and often cover the soaring horn solos from the original. Musicians will experience true symphonic beauty in this exquisite arrangement for strings and harp.

SKU: HL.49007078

ISBN 9783795720520. 6.75x9.75x1.55 inches. German.

Der 'Grundriss der Musikpadagogik' ist ein Standardwerk zur Theorie der Musikpadagogik. Ziel des Buches ist es, eine wissenschaftliche Musikpadagogik zu entwickeln und eine theoretisch-systematische Grundlegung des Faches Musikpadagogik zu skizzieren. Hierbei werden Antworten auf musikpadagogische, -historische, -asthetische sowie psychologische und soziologische Fragen gegeben. Im Zentrum stehen drei zentrale musikpadagogische Gegenstande: Musik-Lernen, Musik-Lehren und der Musikunterricht als Ergebnis der Wechselbeziehungen zwischen Musik-Lernen und Musik-Lehren. Dabei geht es der wissenschaftlichen Musikpadagogik nicht darum, der praktischen Musikpadagogik direkte Hilfen fur die Durchfuhrung von Musikunterricht zu geben, sondern Erkenntnisse und Einsichten im padagogischen Umgang mit Musik zu gewinnen. Weitere Kapitel behandeln eine berufsgeschichtliche Darstellung des Musiklehrers und das Thema 'Musikpadagogik als Forschungs- und Lehrgebiet'.Es soll gewiss nicht Musikpadagogik statt Musik betrieben werden, auch nicht unbedingt mehr Musikpadagogik, nur sachlichere und sachgemasse und damit effektivere Musikpadagogik. (Sigrid Abel-Struth)Sigrid Abel-Struth (1924-1987), Aufbau und Leitung der Frankfurter Jugendmusikschule, Professorin fur Musikpadagogik an der Padagogischen Hochschule in Bielefeld und an der Universitat Frankfurt a. Main. Umfangreiche Tatigkeiten in nationalen und internationalen Gremien. Forschungsschwerpunkte: Geschichte der musikpadagogischen Theorieentwicklung, musikbezogenes Lernen, Untersuchungen zur Musik in Kindergarten, Vorschule bis hin zur Erwachsenenbildung. Weitere Veroffentlichungen: S. Abel-Struth, 'Ziele des Musik-Lernen' (ED 6772/ED 6773, Mainz 1978/1979); S. Abel-Struth und Ulrich Groeben, 'Musikalische Horfahigkeiten des Kindes' (ED 6849, Mainz 1979).

SKU: BR.EB-8208

World premiere: Dusseldorf, June 20, 1979

ISBN 9790004175484. 9 x 12 inches.

Arranged and provided with fingerings by Reinbert Evers. World premiere: Dusseldorf, June 20, 1979.

SKU: CF.B3470

ISBN 9781491159460. UPC: 680160918058.

The awardee of two Guggenheim fellowships, Julia Perry studied composition with Luigi Dallapiccola and Nadia Boulanger, and conducted her works on a tour throughout Europe with the Vienna Philharmonic and the BBC Orchestra. She would become one of the first African-American female composers to have an orchestral work performed by the New York Philharmonic. Although she had an auspicious and promising career in her early life, it was tragically cut short by a series of strokes leading to partial paralysis and eventually, her death, at age 55 in 1979.Perry’s catalog is widely varied, featuring thirteen symphonies, numerous chamber and solo works, pieces for band, choral and vocal music, and four operas. Her Violin Concerto, completed in 1968, shows the influence of Dallapiccola’s teachings: sharp harmonic dissonances organized around specific pitch centers, short repetitive patterns that establish significant musical materials, and contrapuntal textures. Her fastidious performance markings in the solo violin part indicate her profound understanding of the instrument. Angular, muscled, and sparkling by turns, this piece is a sophisticated entry to the serious violinist's concert repertoire.There is no evidence or documentation that the Violin Concerto was ever premiered or performed during her lifetime, despite the fact that the composer prepared a full score, piano reduction and orchestral parts. Regrettably, this is the case with the majority of her works composed in the final decade of her life.
What is extraordinary about Julia Perry’s musical career was the astonishing success she attained in her early years. In her youth she studied piano, voice, violin and cello. She began to compose in her teenage years, her first publication being a choral work in 1947 by Carl Fischer. Her Stabat Mater was published in 1951 and would become one of her most often performed pieces, with performances in Europe and the United States. In 1953 she was awarded a Guggenheim fellowship to study with the Italian composer Luigi Dallapiccola, first at the Berkshire Music Center in Tanglewood, later in Florence, Italy. During this time, she also pursued studies with Nadia Boulanger in Paris and was awarded a second Guggenheim fellowship. She studied conducting at this time, touring Europe in 1957 to conduct her own works with the Vienna Philharmonic and the BBC Orchestra. During her European sojourns, she learned and mastered French, German and Italian. She would become one of the first African-American female composers to have an orchestral work performed by the New York Philharmonic.Perry’s circumstances would change dramatically once she reached forty years of age, having returned permanently to the United States. At some point in the spring of 1970, she suffered the first of two strokes that would paralyze her right side and confine her to a wheelchair for the rest of her life. Nonetheless, she continued to compose and to promote her works with publishers and conductors. A second stroke contributed to her death in 1979 at age 55. She likely endured harsh ethnic and gender discrimination in the course of her career, and her later years would witness a period of extreme civil unrest. These matters and the significance of music in her life are undoubtedly what led her to say, “Music has a great role to play in establishing the brotherhood of man.”Perry’s catalog is widely varied, featuring thirteen symphonies, numerous chamber and solo works, pieces for band, choral and vocal music, and four operas. Her Violin Concerto, completed in 1968, is indicative of the influence of Dallapiccola’s teachings: sharp harmonic dissonances organized around specific pitch centers, short repetitive patterns that establish significant musical materials, and contrapuntal textures. The work is a single movement of 392 measures organized around three alternating tempos: Slow (Œ = 60), Moderate (Œ = 84) and Fast (Œ = 120). The opening thirty-measure cadenza for the solo violin introduces most of the thematic material for the piece. The orchestration commonly features antiphonal writing between orchestral groups, for example, strings alternating with brass, or strings alternating with winds. The harp and piano generally appear as solo instruments, rather than as members of the orchestra. Her fastidious performance markings in the solo violin part indicate her profound understanding of the instrument.There is no evidence or documentation that the Violin Concerto was ever premiered or performed during her lifetime, despite the fact that the composer prepared a full score, piano reduction and orchestral parts. Regrettably, this is the case with the majority of her works composed in the final decade of her life.

SKU: BT.MUSM570205462

English.

Published 1979. First performance: Michael Finnissy, British Music Information Centre, 18th December 1979.

SKU: NR.97751