Search Results: Titles starting with M from Serenissima Music, Inc.

Bach composed the first version of this piece in 1723 using the key of E-flat major for the Christmas Vespers in Leipzig which contained several Christmas texts. Over the years he removed the Christmas-specific texts to make it suitable for year-round performance, and transposed it to D major, providing better sonority for the three trumpets, which is the standard version of the work encountered today. The Magnificat is divided into twelve parts which can be grouped into three movements, each beginning with an aria and completed by the choir. The four movements from the original version have been transposed to D major and inserted in their original order for those wishing to have the omitted Christmas texts.

This new study score is a digitally enhanced reissue of the full score edited by Alfred Durr for the Neue Bach Ausgabe in 1956. 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. The… Read More

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

Bach composed the first version of this piece in 1723 using the key of E-flat major for the Christmas Vespers in Leipzig which contained several Christmas texts. Over the years he removed the Christmas-specific texts to make it suitable for year-round performance and transposed it to D major, providing better sonority for the three trumpets. This version, first performed in a 1733 concert for the Feast of the Visitation, is the standard version of the work encountered today. The Magnificat is divided into twelve parts which can be grouped into three movements, each beginning with an aria and completed by the choir. The four movements from the original version have been transposed to D major and inserted in their original order for those wishing to have the omitted Christmas texts. This new study score prepared by Richard W. Sargeant Jr., based upon the manuscripts and other primary sources, is a must for those who want to appreciate the beauty of one of Bach's most enduring masterworks.
Magnificat… Read More

Unabridged digitally enhanced reprint of the vocal score prepared by musicologist Karl Straube and published by C.F. Peters, Leipzig in the early 20th century. Bach composed the initial version in E-flat in 1723 for the Christmas Vespers in Leipzig which contained several Christmas texts. Over the years he removed the Christmas-specific texts to make it suitable for year-round performance, and transposed it to D major, providing better sonority for the trumpets. The work is divided into twelve parts which can be grouped into three movements, each beginning with an aria and completed by the choir.
Magnificat anima mea (Coro)
Et exultavit (Aria)
Quia respexit (Aria)
Omnes generationes (Coro)
Quia fecit mihi magna (Aria)
Et misericordia (Duetto)
Fecit potentiam (Coro)
Deposuit (Aria)
Esurientes (Aria)
Suscepit Israel (Terzetto)
Sicut locutus (Coro)
Gloria Patri (Coro)
SSATB soli, SSATB chorus / Piano ; ISMN: 979-0-800001-34-5

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)

Debussy worked interminently on his orchestration of the 1891 piece he orginally composed for piano four-hands from 1893 to around 1908. He did not attend the orchestration's premiere on January 16, 1910, given in Nancy with Guy Ropartz conducting the Orchestre des Concerts du Conservatoire. The work is a superb example of Debussy's masterful orchestration. 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.
Orchestra (2+1, 2+1, 2, 2 - 4, 2, 3, 0, perc, hp, strs) ; ISMN: 979-0-58021-003-6

Composed originally in 1869, this Bruckner mass is unique in its wind ensemble accompaniment. The composer made revisions in 1882 and the new version was premiered in 1885 at the same venue of the original premiere 16 years before - the Cathedral of the Immaculate Conception in Linz, Austria. The vocal score here is a digitally-enhanced reissue of the authoritative edition by Kurt Soldan and issued by C.F. Peters in the early 20th century. 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 actually readable.
Kyrie
Gloria
Credo
Sanctus
Benedictus
Agnus Dei
SSAATTBB Chrous / Piano ; ISMN: 979-0-800001-79-6

This is new, unabridged, digitally enhanced reissue of the classic vocal score for Schubert's youthful masterpiece prepared by Friedrich Spiro and published in 1904 by Breitkopf & Hartel. Composed when Schubert was only seventeen, the Mass in G entered the choral repertoire soon after its first publication in the mid-1800s. It's been a staple of the repertoire ever since.
Kyrie
Gloria
Credo
Sanctus
Benedictus
Agnus Dei

Commissioned by Price Esterhazy, the patron of his teacher Joseph Haydn, Beethoven's first major choral mass with orchestral accompaniment was generally dismissed as an inferior work by both patron and audience at the first performance in Eisenstadt on 13 September 1807. Later audiences nevertheless came to appreciate Beethoven's masterful contrapuntal writing, which are a precursor to his towering Missa solemnis composed 15 years later. This newly engraved vocal score features a superb piano reduction by Carl Reinecke and has been thoroughly edited and reviewed by Karel Torvik. The A4 size is ideal for vocalists, choruses and rehearsal pianists alike.

Kyrie
Gloria
Credo
Sanctus
[Benedictus]
Agnus Dei
SATB soli, chorus / Piano ; ISMN: 979-0-800001-70-3

Schubert composed his sixth and final mass in the summer of 1828; it was premiered posthumously, on October 4, 1829, in the Viennese Parish Church of the Holy Trinity under the direction of the composer's brother, Ferdinand. In addition to five vocal soloists and chorus, the work is scored for pairs of oboes, clarinets, bassoons, horns and trumpets, three trombones, timpani, and strings.Unabridged digitally enhanced reissue of the vocal score prepared by Julius Spengel that was first issued in Leipzig by Breitkopf and Hartel in the late 19th century to coincide with their publication of the complete works edition.
Kyrie
Gloria
Credo
Sanctus
Benedictus
Agnus Dei

A new, digitally-enhanced reissue of the classic vocal score for Alois Schmitt's reconstruction of Mozart's incomplete masterpiece. Includes preface, contents, instrumentation, measure numbers. Fully compatible with the parts from Breitkopf, Kalmus, Lucks or even the free download from the Petrucci Music Library.Originally planned for a celebration of his wedding to Constanze Weber, Mozart performed the several completed sections on Oct. 26, 1783 in Salzburg - filling in with movements from earlier liturgical works. Later, the composer used several sections of this music in his 1785 oratorio "Davidde Penitente" with new words.Inspired by Süssmayr's completion of the "Requiem", Schmitt filled in missing sections with movements from earlier masses and fleshed out the orchestration from Mozart's sketches where needed. His reconstruction was given its premiere in 1901 and promptly entered the choral repertoire.
Kyrie
Gloria
Laudamus Te
Gratias
Domine
Qui Tollis
Quoniam
Jesu Christe – Cum Sancto Spritu… Read More

Originally composed in 1887 for soli, chorus and organ, Dvorak expanded this outstanding work in 1892 for a London concert featuring a large choir and full orchestra. The premiere was given on March 11, 1893. This vocal score is a digitally-enhanced reproduction of the arrangement by Berthold Tours first issued by Novello, Ewer, & Co. in 1893. Now with measure numbers at the beginning of each system. A practical performance edition designed to make the chorus member's job easier.
Kyrie
Gloria
Credo
Sanctus
Benedictus
Agnus Dei
SATB soli, SATB Chorus / Piano
ISMN: 979-0-800001-17-8

A newly engraved and revised edition of Otto Taubmann's classic vocal score first issued by Breitkopf und Hartel in the early 20th century. Taubmann's vocal score is the standard edition of Mozart's Coronation Mass that has been in continuous use by performers for nearly a century, now made even more useful with a clean, updated engraving. Compatible with the widely available public domain orchestra score and parts found on IMSLP and also with performance material from the Neue Mozart Ausgabe. Large score and orchestra parts are also available from Serenissima Music.
Kyrie
Gloria
Credo
Sanctus
Benedictus
Agnus Dei
SATB soli, SATB Chorus / Piano

Chadwick's "Dramatic Overture" was completed on September 30, 1887 and given its premiere on December 23rd and 24th of that year in Boston's Music Hall, with the Boston Symphony Orchestra conducted by Wilhelm Gericke. The work was quite popular in the composer's lifetime, with multiple performances by orchestras in both the United States and Europe. The score offered here is a digitally enhanced reissue of the one published in 1891 by Arthur P. Schmidt of Boston. 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, is beautifully printed on off-white stock with a quality cover.
Orchestra (2+1, 1+1, 2, 2 - 4, 2, 3, 1, timp, hp, strs) ; ISMN: 979-0-58021-001-2

In a departure from his usual practice of setting traditional melodies, Grainger instead chose to set a traditional text to original music - in an English translation made with his mother Rose - of a Faroe Islands wedding verse originally collected by V. U. Hammershaimb in 1886. The result is a raucous celebration for 9 vocalists, chorus, and orchestra. This new vocal score is a digitally-enhanced reprint of the one originally issued in 1916 by Oliver Ditson.
SSAATTBBB Soli and/or Chorus / Piano

In Paris on Nov. 22, 1855, the "Solemn Mass of St. Cecilia" was first performed in its entirety. The Sanctus and Benedictus movements were highly acclaimed when performed in London four and a half years before. It was the custom to celebrate the feast of St. Cecilia, the patron Saint of music, with the production of new compositions in the Eglise de St. Eustache. Gounod dedicated his mass to the memory of his father-in-law Zimmermann, former professor of the Conservatory, who had died Oct. 29, 1853. Tilmant directed the orchestra, and Gounod the chorus. A digitally enhanced reprint of the Sir Joseph Barnby's piano reduction first issued in 1896 by G. Schirmer, Inc.
1. Kyrie
2. Gloria in Excelsis
3. Credo
3b. Offertoire
4. Sanctus
5. Benedictus
6. Agnus Dei

This newly engraved vocal score for Mozart's popular youthful Mass has been carefully edited, complete with measure numbers, using Trexler's classic keyboard arrangement as a starting point. It is compatible with the orchestral material issued by both Kalmus and Breitkopf and with that of the Neue Mozart Ausgabe. The large A4 format is especially helpful for choruses, vocalists and accompanists.
Kyrie
Gloria
Credo
Sanctus
Benedictus
Agnus Dei

In April 1819, Beethoven's patron (and pupil) Archduke Rudolph was elected a cardinal, and in June he was further elevated to Archbishop. The date of his formal installation was set for March 9, 1820. As Beethoven's interest in church music had developed and deepened, he felt that this event presented the perfect occasion to express his appreciation for the Archduke's benevolence by writing a composition. In a letter to the Archduke, Beethoven wrote, "The day on which a High Mass composed by me will be performed during the ceremonies solemnized for Your Imperial Highness will be the most glorious day of my life; and God will enlighten me so that my poor talents may contribute to the glorification of that solemn day."Beethoven immersed himself in the work completely, devoting his mind and heart to the writing of this Mass.

According his biographer Schindler, Beethoven's personality changed at the beginning of the composition of the Missa Solemnis. Schindler described his state as "Erdenentrucktheit",… Read More

This 35-minute work is sometimes thought of as Elgar's answer to his contemporary Richard Strauss' tone poem Ein Heldenleben. It was given its premiere at the Birmingham Music Festival on Oct. 1, 1912 with the composer at the podium. Elgar quotes extensively from his own previous works throughout. This new vocal score is an unabridged digitally-enhanced reprint of the one issued by Novello & Co., Ltd. in 1912, enlarged to a more readable A4 size. A welcome addition for Elgar enthusiasts, alto soloists, choruses, and pianists..
Introduction
We are the music makers
With wonderful deathless ditties
We, in the ages lying
A breath of our inspiration
They had no vision amazing
And therefore today is thrilling
But we, with our dreaming and singing
For we afar with the dawning
Great hail! We cry to the corners