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

A newly engraved vocal score carefully edited and revised from Berhard Todt's reduction issued in conjunction with Bach Gesellschaft edition. One of Bach's earliest extant works (dated 1708 or 1709), this cantata was likely influenced by the those of Dietrich Buxtehude.The opening string sinfonia is follwed by a short opening chorus in motet style. After a brief attractive aria (for soprano), another chorus, also in motet style, commences with an ascending scale after which the line is handed off brilliantly between the various parts. This is followed by a trio for alto, tenor and bass and another chorus featuring a fugal finale. The last movement is a choral chaconne that so impressed Johannes Brahms (one of the few original subscribers to the Bach Gesellschaft edition) that he quoted the bass line in last movement of his "Symphony No. 4." All in the space of a little over fifteen minutes.
Sinfonia
Coro
Aria
Coro
Terzetto
Coro
Coro
SATB soli, SATB chorus / Piano ; ISMN: 979-0-800001-36-9

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

Following the success of his first volume of Liebeslieder-Walzer of 1869, Brahms set another 14 songs to the same poetry from Polydora, the 1855 collection of German folk-poems and love-songs assembled by George Friedrich Daumer (1800-1875) plus a conclusion set to a poem of Goethe - "Zum Schluss". Composed from 1869 through 1874, the second volume likewise features numbers for solo voices placed between the 4-voiced settings. The first performance was given in Karlsruhe on May 8, 1875 of nine selections featuring four vocalists accompanied by Otto Dessoff and the composer on the piano. Conductor Ernst Rudorff persuaded Brahms to orchestrate the accompaniment for No.9 (plus 8 numbers from the earlier Op.52 set) for a concert given at Berlin's Hochschule on March 19, 1870.

Offered here is Richard W Sargeant Jr's thoroughly researched, meticulously edited and engraved vocal score, including variants. Brahms' own earlier variant of the ninth song is present along with the final version of 1875. This… Read More

In the wake of the success of his first volume of Liebeslieder-Walzer of 1869, Brahms set another 14 songs to the same poetry from Polydora, the 1855 collection of German folk-poems and love-songs assembled by George Friedrich Daumer (1800-1875) plus a conclusion set to a poem of Goethe - "Zum Schluss". Composed from 1869 through 1874, the second volume also features numbers for solo voices placed between the 4-voice settings. The first performance was given in Karlsruhe on May 8, 1875 of nine selections with four vocalists accompanied by Otto Dessoff and the composer on the piano.

The conductor Ernst Rudorff persuaded Brahms to orchestrate the accompaniment for No.9 (plus 8 numbers from the earlier Op.52 set) for a concert given at Berlin's Hochschule on March 19, 1870. Offered here is Richard Sargeant's thoroughly researched, meticulously edited and engraved complete score, including variants. Brahms' own earlier variant of the ninth song is present along with the final version of 1875. This… Read More

Brahms enriched the genre of chorus and orchestra with two impressive works from the early 1880s: In 1881, he set a text to Schiller's Nänie (four-part chorus and orchestra) and the next year he set Goethe's Gesang der Parzen (six-part chorus and orchestra). Nänie was composed in memory of Brahms' deceased friend Anselm Feuerbach.

Nänie (Song of Lamentation) is not about simple despair or mere complaint. Even in such dark moments, Schiller's romanticism is expressed as a yearning for the unattainable. The work opens with "Auch das Schone muss sterben!" (Even Beauty must die), and the tension between the veracity of the message and the yearning of the human spirit for the timelessness of temporality and the eternal recurrence of beauty can be sensed in the sheer beauty of Brahm's music. Unabridged digitally enhanced reissue of the composer's own vocal score that was issued by Breitkopf and Hartel in the early 20th century, edited by Brahms' student Eusebius Mandyczewski.

SATB Chorus / Piano ;… Read More