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

Composed for the American amateur saxophonist Elise Hall in 1903, Debussy left the orchestration incomplete at his death. The task of finishing the orchestral score fell to Jean Roger-Ducasse, who prepared the orchestral version in time for its premiere on May 14, 1919 in Paris, conducted by Debussy's student André Caplet. The present study score is a digitally-enhanced reprint of the score issued by Durand et Cie. in 1919. 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.
Saxophone / Orchestra (3, 2+1, 2, 2 - 4, 2, 3, 1, timp, perc, hp, strs) ; ISMN: 979-0-58021-027-2

Composed around 1779 while still in Salzburg, this youthful setting of the Marian text in C major has been a staple of the choral repertoire for more than a century. This new, digitally-enhanced vocal score is reproduced from the one originally issued by Breitkopf und Hartel, Leipzig, to coincide with the complete works (1876-1905) with a piano reduction by J.G. Scheel.

Though it was composed in 1852, the Requiem wasn't published until a decade after the composer's death in 1856. This newly engraved vocal score is based upon the one prepared by Schumann himself that was first issued in conjunction with the Schumann complete works in the 1880s, supervised by his widow Clara and good friend Johannes Brahms. Includes contents page with instrumentation, measure numbers, rehearsal system. The large score and orchestra parts are also available from Serenissima Music.
Requiem
Te decet hymnus
Dies irae
Liber scriptus proferetur
Qui Mariam absolvisti
Domine Jesu Christe!
Hostias et preces tibi
Sanctus
Benedictus

Composed in 1849 in memory of Bruckner's friend Franz Sailer, the Requiem in D minor was the composer's first large scale work. The premiere was given at the St. Florian Abbey in Linz on September 15, 1849 under Bruckner's direction. This new study score is a digitally-enhanced reissue of the edition prepared by Robert Haas in the years following the first world war and issued by the Musikwissenschaftlicher Verlag.
Requiem
Dies irae
Domine
Hostias
Quam olim
Sanctus
Benedictus
Agnus Dei
Requiem
Cum sanctis
SATB soli, chorus / Orchestra (horn, 3 trombones, organ, strings) ; ISMN: 979-0-800001-69-7

Berlioz composed his Grand Messe des Morts, or Requiem, in 1837 for a huge orchestra with four brass choirs plus the usual vocal soli and chorus. The vocal score presented here was prepared by the Polish pianist and composer Philipp Scharwenka (1847-1917) to coincide with the issue of the full score issued as part of the Berlioz Complete Works published by Breitkopf & Härtel in the first decade of the 20th century. This digitally-enhanced reprint has been enlarged to a very readable A4 size with measure numbers added.
Requiem et Kyrie. Introït
Dies iræ. Prose – Tuba mirum
Quid sum miser
Rex tremendæ
Quærens me
Lacrimosa
Offertoire. Chœur des ames du Purgatoire
Hostias
Sanctus
Agnus Dei
Tenor solo, SSTTBB chorus / Piano ; ISMN: 979-0-800001-77-2

Composed in 1849 in memory of Bruckner's friend Franz Sailer, the Requiem in D minor was the composer's first large scale work. The premiere was given at the St. Florian Abbey in Linz on September 15, 1849 under Bruckner's direction. The vocal score reissued here was originally prepared by Ludwig Berberich in the decades after the first world war. Not a mere reprint, it has been digitally enhanced with measure numbers, contents, instrumentation and is compatible with the widely available public domain orchestral from IMSLP, Luck's and elsewhere.
Requiem
Dies irae
Domine
Hostias
Quam olim
Sanctus
Benedictus
Agnus Dei
Requiem
Cum sanctis
SATB soli, SATB chorus / Piano ; ISMN: 979-0-800001-28-4

This publication offers a source-critical edition of Mozart's fragmentary "Requiem" as well as an alternative to the traditional Süßmayr version. It makes it possible to perform 1) the fragment, identified in print in both the score and the parts, 2) the authentic sections left incomplete by Mozart, now in a stylistically appropriate orchestration, and 3) those sections missing entirely in the fragment, newly added in Mozart's idiom taking into account historical additions by Süßmayr and Eybler.

When completing the fragment, the editor drew on comprehensive comparative and analytical studies of Mozart's church style and compositional workmanship. The influence of Handel and Bach manifested in his final years, particularly in the "Requiem" fragment, is taken into account in those sections requiring completion or fresh composition.
At two points performers may choose between alternative movements or sections. Proceeding from Süßmayr's historical completion, two divergent options cannot be weighed… Read More

This is a new, digitally enhanced reissue of the classic vocal score prepared by Friedrich Brissler and issued by C.F. Peters of Leipzig around 1880. Brissler's vocal score was arranged from the well-known completion of Mozart's unfinished masterpiece done by his student Franz Xaver Süssmayr in 1792 at the request of Mozart's widow Constanze. Includes contents, instrumentation, and an English translation of the latin text in the frontmatter. Although it was first published in oblong format by Peters as early as the 1850s, Brissler's reduction was revised and re-engraved to the present format around 1880 to coincide with the publication of the Mozart complete works.
Requiem, Kyrie (Mozart)
Dies irae (Mozart)
Tuba mirum (Mozart)
Rex tremendae (Mozart)
Recordare (Mozart)
Confutatis (Mozart)
Lacrimosa (Mozart and Sussmayr)
Domine Jesu (Mozart)
Hostias (Mozart)
Sanctus (Sussmayr)
Benedictus (Sussmayr)
Agnus Dei (Mozart and Sussmayr)

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.

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

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

Dvorak's choral masterpiece was first performed at the Birmingham Festival on October 9, 1891 under the composer's direction. It immediately entered the standard repertoire. This new vocal score is a digitally-enhanced reissue of the one edited by Karel Solc as part of Dvorak's complete works originally published by the Czech State publishing concern, SNKLHU, in the late 1950s. Now in a very readable A4 size, this score will be a welcome addition for vocalists, choruses and pianists alike.
Requiem aeternam
Graduale
Dies iraev
Tuba mirum
Quid sum miser
Recordare
Confutatis maledictis
Lacrimosa
Offertorium
Hostias
Sanctus
Pie Jesu
Agnus Dei
SATB soli, SATB Chorus / Piano
ISMN: 979-0-800001-84-0

Composed in the summer of 1831 while in Rome, Berlioz's work was inspired by the Scottish rebel Rob-Roy MacGregor had to wait until the spring of 1833 for its premiere. The composer abandoned the piece shortly afterwards, but used some of the music material for his more famous "Harold in Italy". An unabridged, digitally enhanced reprint from Volume 4 of Series II of the Berlioz Complete Works, edited by Charles Malherbe and Felix Weingartner, issued by Breitkopf and Härtel between 1900 and 1907, this new study score presents the Berlioz's fascinating work in an easy-to-read format at a very reasonable price.

Orchestra (2d1, 1+1, 2, 2 - 4, 3, 3, 0, timp, hp, strs) ; ISMN: 979-0-800001-65-9

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

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: 979-0-58042-356-6

This study score is a high-quality reprint of the one first issued in Leipzig by Ernst Eulenburg in around 1910. The Eulenburg itself was based on the original 1881 score issued in Berlin by Bote & Bock. It is the third and final revised version of the piece.

Premiered in 1867, "Romeo et Juliette" was composed to a libretto by Jules Barbier and Michel Carre based upon the Shaespeare play. Apart from "Faust", it stands as Gounod's most popular opera. This chorus score, with the standard piano reduction by Hector Salomon, is a digitally-enhanced reprint of the choral movements from the vocal score issued by G. Schirmer in 1897 with an English translation by Dr. Theodore Baker beneath the original French.
Overture and Prologue
1. The Capulets' Ball
1b. Scene
2b. Recitative and Scene
5. Finale, Act I
6. Entracte and Chorus
8. Scene and Chorus
13. Finale, Act III
18. Epithalamium
19. Finale, Act IV

Composed in 1839, Romeo et Juliette is a unique work which straddles the opera and symphonic genres. Berlioz himself used the term "Symphonie dramatique" to characterize it. With three vocal soloists and a triple chorus accompanied by large orchestra, the number of vocal soli is less than what was normally employed for operas of the era and is closer to the forces employed by Beethoven in his Symphony No.9. Much of the drama is supplied by Berlioz's exquisite orchestral writing, elevating the orchestra to a full participant in the unfolding drama of the classic Shakespeare tragedy - in a French adaptation by Émile Deschamps. The work was given its premiere on November 24, 1839 in Paris at the Conservatoire, with voices, chorus and orchestra conducted by the composer.

The present vocal score is a digitally restored reissue of the one prepared by Richard Kleinmichel in 1901 to coincide with the complete edition of Berlioz's work under the joint editorship of Charles Malherbe and Felix Weingartner by… Read More

One of Johann Strauss II''s most enduring sets of Waltzes, Roses from the South was arranged by the composer from themes taken from his 1880 operetta, The Queen''s Lace Handkerchief. This new, convenient sized study score is a licensed reduced-sized reissue of the outstanding new edition prepared by Clark McAlister that was first published by now-defunct E. F. Kalmus in 2007.
Serenissima Music is pleased to publish Dr. McAlister's extensive catalogue of outstanding editions and orchestrations. The matching large score and orchestra parts are likewise now exclusively available from Serenissima.

This new edition of Glinka's beloved orchestral showpiece is the first not based upon the corrupt edition issued under the supervision of Hector Berlioz in the 19th century. Editor David J. Miller has gone back to the original performance scores for Glinka's complete opera for this beautifully engraved and thoroughly researched score, now available in a convenient and affordable format for conductors, music students and interested opera and music fans worldwide.