Search Results: Books from Serenissima Music, Inc.

Along with the Benedictus, K.117, this short work is among the earliest of Mozart's forays into liturgical music, which would reach their culmination with masterpieces like the Coronation Mass, K. 317 and the unfinished Requiem, K.626. This newly engraved and researched edition by Richard W. Sargeant Jr. has been carefully formatted for maximum usability by choruses.

Beethoven's Choral Fantasy, Op.80 composed late in 1808, is sometimes described as a prototype of the Symphony No.9, Op.125. The first two thirds of the work could be described as a concert piece for piano solo and orchestra. Only after 400 measures does the chorus enter, with a tune that does bear some similarity to the renowned "Ode to Joy" - which was still fifteen years in the future when this work was composed. This new vocal score is a digitally enhanced reprint of the reduction prepared by the renowned pianist Xaver Scharwenka that was first issued by Breitkopf und Hartel, Leipzig in 1915.
SATB Chorus / Piano ;

It is believed Bagley started composing National Emblem in 1902 while on a train tour with his band, but was dissatisfied with its ending and threw the score out. Fortunately, some members of his band (the Keene, New Hampshire, City Band) retrieved it and secretly rehearsed the score in the baggage car, surprising him with a performance of the work in their next concert. Bagley later revised the work and it was first published in 1906. It has since appeared in more than one dozen published editions. The first recording of it was made in 1908 by the band of Arthur Pryor, on the Victor Talking Machine Company label.

National Emblem, which features an excerpt of The Star Spangled Banner, deservedly became the most famous of Bagley's marches and remains a standard of the American march repertoire. It is widely played in Independence Day celebrations, and is used by the US military for presenting and retiring the colors. John Philip Sousa, when asked to name the three most effective street marches ever… Read More

Mahler's arrangement of four Bach pieces - two each from the baroque master's Orchestral Suites Nos. 3 and 4 (BWV 1067, 1068) were prepared specially for a concert of the New York Philharmonic he conducted on November 10, 1909. Mahler's arrangement is quite unusual for its era and does not significantly depart from Bach's original in the forces required. Mahler's use of the harpsichord (he played the part himself at the premiere) is quite personal - adding the instrument to the orchestra a color more than the conventional continuo accompaniment function played in Bach's era.

Mahler's re-working is itself within the Bach tradition as the Leipzig master was no stranger at making adaptations of earlier composers' works for his own concerts. This new study score is a digitally-enhanced reissue of the one first published by G. Schirmer in 1910. In contrast to so many of the on-demand scores now available, this one comes with all the pages and the images have been thoroughly checked to make sure it is… Read More

Otakar Ševcik's Forty Variations for the Violin, assembled here in one book, occupy a special position in the composer's extensive oeuvre of teaching material. Here he builds on his Op.2 which he had already dedicated to the systematic, "step by step" development of the bowing technique.

Nonetheless, this volume can be used as a self-contained unit, enlivening the violinist's daily regimen and offering a concise and highly effective method for mastering the right hand, from elementary exercises to virtuoso technique. The editor, Pavel Kudelásek, is a teacher at the Prague Conservatory.

BA 11521 ; ISMN: 979-0-2601-0801-1

Foote's 20-minute gem was actually pieced together from a couple of earlier, unpublished string orchestra works: three movements from the 1886 Suite in E major, Op.12; and two movements from the 1889 Suite in D major, Op.21. In 1891, the composer re-worked these into the present five-movement work which was given its premiere by the Baltimore Symphony in January 1893. This new study score is a digitally-enhanced reprint of the one issued by Arthur P. Schmidt in 1892.
Praeludium
Air
Intermezzov
Romanze
Gavotte

Long thought to be by Pergolesi, this splendid setting of the Magnificat text is actually by Pergolesi's contemporary Francesco Durante. This new vocal score is a digitally enhanced reissue of the one prepared by American musicologist Clayton Westermann in 1968. Now in a convenient size designed to fit into choral folders, measure numbers and an updated preface.
Magnificat anima mea (chorus)
Et misericordia (soprano, alto and chorus)
Fecit potentiam (chorus)
Deposuit potentes (chorus)
Suscepit Israel (tenor and bass)
Sicut locutus est (chorus)
Gloria Patri (chorus)
Sicut erat in principio (chorus)

An interesting case of self-borrowing. Bach took music from his own Mass in B-minor (BWV 191/1 corresponds to the Gloria in excelsis Deo, BWV 191/2 to the Domine Deus, BWV 191/3 to the Cum Sancto Spiritu) for use in this latin cantata written to celebrate the Peace of Dresden which marked the end of the 2nd Silesian war. It was first performed on Christmas day, 1745. This vocal score is a reissue of the one which was originally published to coincide with Bach Gessellschaft edition. Unlike so many of the on-demand scores now available, this one comes with all the pages and the images have been thoroughly checked to make sure it is readable.

Coro. Gloria in excelsis Deo
Duetto. Gloria Patri
Coro. Sicut erat in principio
ST soli, SSATB chorus / Piano ; ISMN: 979-0-58021-064-7

Bartok originally set this series of folk tunes for piano in 1915. Two years later, he scored them for small orchestra. This is a newly engraved and corrected edition of the deservedly popular orchestral showpiece, available for the first time at a reasonable price for musicians, students and fans of Bartok's highly individual style.
Joc cu bata
Braul
Pe-loc
Buciumeana
Poarga romaneasca
Maruntel
Orchestra (2d1, 0, 2, 2 - 2, 0, 0, 0, strs) ; ISMN: 979-0-58042-000-8

This exceptional cantata was probably first heard at the Thomaskirche in Leipzig on June 16, 1726, though scholars cannot rule out it being composed for a festival later that year or early in 1727. The new digitally-enhanced vocal score presented here is reproduced from the series first issued to coincide with the monumental Bach Gesellschaft Ausgabe by Breitkopf und Hartel of Leipzig just over a century ago with keyboard reductions by Bernhard Todt.

Coro: Gelobet sei der Herr, mein Gott
Aria (bass): Gelobet sei der Herr, mein Gott, mein Heil
Aria (soprano): Gelobet sei der Herr, mein Gott, mein Trost
Aria (alto): Gelobet sei der Herr, mein Gott, der ewig lebet
Chorale: Dem wir das Heilig jetzt

SAB soli, SATB chorus / Piano ; ISMN: 979-0-800001-63-5

Originally for piano, Chabrier's Habanera was arranged for orchestra by the composer for a concert he conducted in Angers on November 4, 1888. The piano version was the first to be published (Enoch Frères et Costallat, 1885). The orchestral version, which is transposed up to D major, was not issued until 1889. The Habanera is a fine example of the Spanish genre which was so popular in the works of French composers in the 19th and early 20th centuries.

Richard W. Sargeant Jr's newly engraved is based upon the 1889 first edition score and parts, the composer's manuscript having vanished during the second world war. The study score offered here is a reduced format reproduction of the large conductor score which is also available along with the orchestral parts from Serenissima Music.

Orchestra (2, 1, 2, 1 - 2, 2, 0, 0, timp, trgl, strs) ; ISMN: 979-0-58042-971-1

One of the most popular marches ever written, Colonel Bogey was composed in 1914 by Lt. Frederick J. Ricketts (1881-1945) under the pseudonym Kenneth J. Alford. Born in London, Ricketts enlisted in the band of the First Battalion, Royal Irish Regiment at age fourteen He later studied at the Royal Military School of Music, Kneller Hall. Ricketts served as bandmaster to several battalions, and was appointed Director of Music of the famed Royal Marines of Plymouth in 1930.
He composed 19 known marches and several other light works under the pseudonym Kenneth J. Alford, but Colonel Bogey remains his most popular work. Opening with a characteristic two-note phrase (a descending minor third) it is said that the tune was inspired by a fiery and somewhat eccentric military man and avid golfer nicknamed "Colonel Bogey" who used to whistle the catchy notes instead of shouting "Fore" when about to drive a ball. By the early 1930s Colonel Bogey had sold well over one million copies, and became widely used for… Read More

Chambers wrote and published nearly ninety marches as well as several brilliant cornet solos. His band compositions have been called "some of the finest and most difficult works in the American march repertoire." Today, he is mainly known for two of his marches, The Chicago Tribune and the present work. Boys of the Old Brigade was written in 1901 but is not related to the Irish Republican song of the same name. At just over 2 minutes long, the piece is a short and spirited quick march, and in this new edition Richard W Sargeant Jr. pays tribute to Chambers' original instrumentation, with extended woodwinds (including 3 clarinets, E-flat clarinet and bassoon), and full brass section with 4 cornets, plus basses, snare drum, cymbals and bass drum. As with Chicago Tribune, the B-flat bass clarinet and SATB saxophones have been added by the editor as they were usually present in bands directed by the composer.

Wind Band ; ISMN: 979-0-58042-037-4

This is an unabridged digitally-enhanced reissue of the vocal score that was prepared by Jean Roger-Ducasse and published by J. Hamelle & Cie. in 1900. Measure numbers have been added along with a table of contents and instrumentation. The large format is extremely easy to read for singers, choruses and pianists. This is Faure's final version the Requiem. The accompaniment was expanded to full symphony orchestra from the original version for organ and chamber ensemble. It is the version that is by far the most widely performed and recorded.
Introit et Kyrie
Offertoire
Sanctus
Pie Jesu
Agnus Dei
Libera me
In Paradisum
Soprano, Baritone soli, SATB chorus, piano.

Vivaldi's Magnificat probably dates from shortly after the 1726 death of composer C.P. Grua, which resulted in his having to provide sacred music for the Venetian orphanage and convent he enjoyed a long-standing relation with: the Ospedale della Pietà. There are actually three versions of the work: 1) for single chorus and orchestra (RV 610); 2) for double chorus and two orchestras (RV 610a); and the final version (RV 611), which takes six movements from replaces the other three movements woth solos written for specific singers at the Pietà: Apollonia, la Bolognesa, Chiaretta, Ambrosina and Albetta.
The present edition, originally published by E.F. Kalmus in 1969, retains the material from the original single-chorus version (RV 610), while including the added solo material Vivaldi inserted for RV 611 as alternatives, making it eminently practical for today's choral groups. In contrast so many of the on-demand scores now available, this one comes with all the pages and the images have been thoroughly… Read More

MacDowell composed his first symphonic poem in 1884 while living in Germany. Apparently it received its premiere there the next year, accompanied by publication. The US premiere did not take place until 1893, when the Boston Symphony performed the piece under the baton of Arthur Nikisch. This new score is a digitally enhanced reprint of the 1885 score issued by Julius Hainauer in Breslau.

Orchestra
2+1, 2, 2, 2 - 4, 2, 3, 0, timp, perc, strs

This new vocal score is a digitally enhanced reissue of the score prepared by the renowned English musicologist J.A. Fuller-Maitland in 1896 to coincide with the full score issued several years before as part of Breitkopf & Härtel's complete edition of Mozart's works. In contrast so many of the on-demand scores now available, this one comes with all the pages and the images have been thoroughly checked to make sure it is readable, is beautifully printed on off-white stock with a quality cover.
Dixit
Confitebor
Beatus vir
Laudate pueri
Laudate Dominum
Magnificat

Composed in 1816 to memorialize the death by execution of King Louis XVI, this Requiem received its premiere on January 21, 1817 under the composer's direction. The C-minor Requiem firmly established Cherubini's position as a major composer on the Paris scene thereafter. This new vocal score is a digitally enhanced reissue of the one first published around 1860 by C.F. Peters in a piano reduction prepared by the German organist Hugo Ulrich (1827-1872).
Introitus
Graduale
Dies Irae
Offertorium
Sanctus
Pie Jesu
Agnus Dei
SATB Chorus / Piano ; ISMN: 979-0-800001-26-0

Debussy composed his "Scène lyrique" in 1884 for his Prix de Rome cantata entry. It was given its premiere that same year at the Institut de France in Paris followed with publication by Durand. He revised the work some 23 years later, even engaging his friend Andre Caplet to help with the new orchestration. Durand brought out a revised vocal score in 1907 with an English translation of the original French text, which is the score reissued here - now new measure numbers and in a convenient format - all at an affordable price.
STB soli, Chorus (optional) / Piano ; ISMN: 979-0-58021-026-5

Composed in 1836 toward the end of Cherubini's tenure as director of the Paris Conservatoire, the Requiem in D-minor for men's chorus and orchestra received its premiere on March 23, 1838 at the Conservatoire under the composer's direction. This new vocal score is a digitally enhanced reissue of the one first published around 1860 by C.F. Peters of Leipzig with a piano reduction prepared by the noted German organist Hugo Ulrich.
Introitus e Kyrie
Graduale
Dies irae
Offertorium
Sanctus
Pie Jesu
Agnus Dei
TTBB Chorus / Piano ; ISMN: 979-0-800001-24-6