Choral / Vocal from Serenissima Music, Inc.

Verdi received a request in November of 1869 from the Viceroy of Egypt to compose a commemorative hymn for the opening of the Suez Canal. Verdi refused the request on the grounds that he was not accustomed to writing such ceremonial music. The Viceroy then perusaded French Egyptologist Auguste Mariette, who wrote a scenario set in ancient Egypt drawn partially… Read more about this item

1. Preludio Prologue 2. Introduzione. Urli, rapine, gemiti, sangue 3. Scena e Cavatina di Odabella 4. Duetto di Attila ed Ezio 5. Scena e Cavatina di Foresto Atto I 6. Scena e Romanza di Odabella 7. Scena e Duetto di Odabella e Foresto 8. Scena e Aria di Attila 9. Finale I Atto II 10. Scena e Aria di Ezio 11. Finale II Atto III 12. Scena e Romanza di Foresto 13. Terzetto 14. Quartetto finale STTBBB soli,… Read more about this item

Vaughan Williams conducted the first performance of his great choral symphony on his 38th birthday, October 12, 1910, at the Leeds Music Festival. The work was well received and has been in the symphonic repertoire ever since. The text was taken by the composer from Walt Whitman's "Leaves of Grass". This digitally restored score, the first available at a reasonable… Read more about this item

This oratorio by a youthful Camille Saint-Saens was first performed by soloists, chorus and small string orchestra for the 1858 Christmas service at the Eglise de la Madeleine in Paris. The composer''s colleague Eugene Gigout arranged the vocal score, which is presented here in a digitally-enhanced reprint of the one issued by G. Schirmer early in the 20th century. As… Read more about this item

Hiawatha's Wedding Feast was the first major success enjoyed by Coleridge-Taylor. It was commissioned by the London publisher Novello after Edward Elgar recommended the young Afro-English composer to them following the premiere of his Ballade in A minor at the Three Choirs Festival in Birmingham. The new work was completed fast and the vocal score was in print months before… Read more about this item

Unlike Bach's other oratorio compositions, there is no definitive version of the St. John Passion. The first version of 1724 which is today's standard version represents a mixture of different readings. The second version of 1725 was performed under the direction of Bach himself and can therefore be considered authentic. In addition to a change in order of several movements,… Read more about this item

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… Read more about this item

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… Read more about this item

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… Read more about this item

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… Read more about this item

In the wake of the positive reception of Brahms's first set of Liebeslieder-Walzer after their 1869 premiere, the conductor Ernst Rudorff persuaded the composer to orchestrate the accompaniment for eight of the eighteen selections from Op.52 (plus another piece subsequently included in the Op.65 set) for a concert given at Berlin's Hochschule on March 19, 1870. Offered here is a… Read more about this item

In the wake of the positive reception of Brahms's first set of Liebeslieder-Walzer after their 1869 premiere, German conductor Ernst Rudorff persuaded the composer to orchestrate the accompaniment for eight of the eighteen Op.52 selections - plus another piece subsequently included in the Op.65 set - for a concert given at Berlin's Hochschule on March 19, 1870. Offered here is… Read more about this item

Brahms composed his first volume of choral-watzes in August of 1869 to poetry taken from Polydora, an 1855 collection of German folk-poems and love-songs assembled by George Friedrich Daumer (1800-1875). Rather than the usual accompaniment for piano solo, Brahms elected to provide one for piano duet. The first performance was given in Heidelberg on November 4, 1869. The conductor Ernst… Read more about this item

Brahms composed his first volume of choral-watzes in August of 1869 to poetry taken from Polydora, an 1855 collection of German folk-poems and love-songs assembled by George Friedrich Daumer (1800-1875). Rather than the usual accompaniment for piano solo, Brahms elected to provide one for piano duet. The first performance was given in Heidelberg on November 4, 1869. The conductor Ernst… Read more about this item

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… Read more about this item

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… Read more about this item

The Serenade was Herbert's second success on the Broadway stage. It was premiered at the Knickerbocker Theatre on March 16, 1897 by 'The Famous Bostonians' and enjoyed several revivals in the early 20th century. 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… Read more about this item

Erik Satie's "drame symphonique" was composed on a commission from the Princess Edmond de Polignac. Satie based his text on selections from the Plato works Symposium, Phaedrus, and Phaedo which mention the Greek philospher in the French translation by Victor Cousin. The work was first performed at the salon of Pricess de Polignac in April of 1918 with soprano Jane… Read more about this item

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… Read more about this item

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… Read more about this item