Search Results: Sacred Music from Serenissima Music, Inc.

For Soprano solo, SATB Chorus and Piano. Composed in 1768 when Mozart was just 12, the Benedictus sit Deus, K.117 remains popular to the present day. This large-format vocal score is designed with a performer's needs in mind. Digitally enhanced reprint from an authoritative early 20th century edition with added measure numbers, contents.
Benedictus
Introibo
Jubilate

For this beloved Cantata, the classic vocal score arranged by Bernhard Todt as a companion to the renowned Bach Gesellschaft Ausgabe was re-engraved by G. Schirmer in the early part of the 20th century with Henry Drinker's English translation added beneath the original German text. Now available in an easy-to-use, convenient size designed to fit comfortably in choral folders.

Sinfonia
Versus I: Christ lag in Todesbanden (soprano, alto, tenor, bass)
Versus II: Den Tod niemand zwingen kunnt (soprano, alto)
Versus III: Jesus Christus, Gottes Sohn (tenor)
Versus IV: Es war ein wunderlicher Krieg (soprano, alto, tenor, bass)
Versus V: Hier ist das rechte Osterlamm (bass)
Versus VI: So feiern wir das hohe Fest (soprano, tenor)
Versus VII: Chorale: Wir essen und leben wohl (tutti)

SATB soli, SATB chorus / piano ; ISMN: 979-0-800001-44-4

This new vocal score is a digitally enhanced reprint of the one fist issued by C.F. Peters, Leipzig in the late 19th century, based upon the Bach Gesellschaft edition with the classic keyboard reduction by Gustav Rosler. With added measure numbers and in a large, easy-to-read A4 size, choruses and students of Bach's music will appreciate having this authoritative score in their libraries.

SATB soli, SATB chorus / Piano ; ISMN: 979-0-800001-64-2

For the Credo in E minor, Vivaldi borrowed some material he composed for his Magnificat, which places it later - probably after 1727. This completely choral work has much in common stylistically with the very famous Gloria (RV 589) and with his earlier psalm setting In exitu Israel (RV 604). Clayton Westermann's 1970 edition, with an English translation beneath the Latin text, is reissued here in a digitally-enhanced, easy-to-read format.
Credo
Et Incarnatus est
Crucifixus
Et Resurrexit

Composed for an Easter Sunday performance in 1715 during Bach's tenure as court composer at Weimar, this cantata has long been a favorite among the more than 250 he wrote. Unabridged electronically enhanced reissue of the vocal score first published by C. F. Peters in ca.1880 based on the Bach Gesellschft volume which first appeared in 1857.

Sonata
Coro: Der Himmel lacht, die Erde jubilieret
Recitativo: Erwunschter Tag! Sei, Seele, wieder froh (bass)
Aria: Furst des Lebens, starker Streiter (bass)
Recitativo: So stehe denn, du Gott ergebne Seele (tenor)
Aria: Adam muss in uns verwesen (tenor)
Recitativo: Weil denn das Haupt sein Glied, natürlich nach sich zieht (soprano)
Aria: Letzte Stunde, brich herein (soprano)
Chorale: So fahr ich hin zu Jesu Christ

STB soli, SSATB chorus / Piano ; ISMN: 979-0-800001-09-3

A new, digitally-enhanced reissue of the chorus score first published by G. Schirmer, New York around 1892. Measure numbers have been added, along with rehearsal letters from the definitive 1875 full score edited by Julius Rietz, first issued by Breitkopf und Härtel and subsequently reprinted by Broude, Dover, Lucks. 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.

"Elijah" is probably the most dramatic oratorio ever written - crowded with stirring incident and music which claims attention. It was the composer's desire to be dramatic, and he knew how to achieve his end. The text is a mosaic of biblical verses taken principally from the First Book of Kings, but having the effect of a vivid, spontaneous story. As with Mendelsoohn's earlier St. Paul, the text was arranged by Julius Schubring. The English translation was made by William Bartholomew, who sent it to the composer piecemeal as he worked. The musical character of Elijah is clearly drawn, and Mendelssohn has succeeded in making the prophet "A man strong and zealous, full of bitterness and scorn, the antagonist of the rabble, whether of courtiers or populace, well nigh the antagonist of the world, yet borne aloft on the wings of angels." Unabridged digitally enhanced reprint of the vocal score edited by Hermann Ktrezschmar and published in Leipzig by C.F. Peters in the early 20th century.

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

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

The most famous of three settings of the Gloria text by Vivaldi, this one (RV 589) most likely dates from about the same time as its predecessor, during the composer's tenure at the Ospedale della Pietà convent in Venice (1713-40). It's also notable for the borrowing of the "Cum Sancto Spiritu" chorus in the setting composed by Vivaldi's fellow Venetian - Giovanni Maria Ruggieri in 1708.This new vocal score is a digitally enhanced reprint of the one originally prepared by the American musicologist Clayton Westermann in 1967 and includes Westermann's English translation of the original Latin text. Now available in an easy-to-read A4 format, with measure numbers and an improved layout, at an affordable price.
Gloria in excelsis (chorus)
Et in terra pax (chorus)
Laudamus Te (2 sopranos)
Gratias agimus tibi (chorus)
Propter magnam gloriam (chorus)
Domine Deus (soprano solo)
Domine fili unigenite (chorus)
Domine Deus, Agnus Dei (alto and chorus)
Qui tollis (chorus)
Qui sedes ad dexteram (alto solo)… Read More

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 ended the 2nd Silesian war). It was first performed on Christmas Day, 1745. Newly engraved carefully edited vocal score based on the Bach Gessellschaft edition produced in an easy-to-read A4 format. Large score and parts from the BGA are also available from Serenissima Music.
Coro: Gloria in excelsis Deo
Duetto: Gloria Patri
Coro: Sicut erat in principio
ST soli, SSATB chorus / Piano ; ISMN: 979-0-800001-33-8

Composed for Reformation Day (October 31) in 1725, this cantata was re-scored for a performance given five years later. With its colorful orchestration and musical allusions to Luther's nailing of the 98 theses to the back door of the Schlosskirche in Wittenberg, the cantata has remained a popular one ever since its first publication in 1870.
This new vocal score is a digitally restored reprint of the one first issued in the early 20th century by G. Schirmer, New York, with Henry Sandwith Drinker's classic English translation beneath the original German text. The keyboard reduction by Bernhard Todt is a classic in its own right, based upon the renowned Bach Gesellschaft Ausgabe.

Coro: Gott, der Herr, ist Sonn und Schild
Aria (Alto): Gott ist unser Sonn und Schild
Choral: Nun danket alle Gott
Recitativo (Bass): Gottlob! Wir wissen den rechten Weg zur Seligkeit
Aria (Soprano, Bass): Gott, ach Gott, verlaß die Deinen nimmermehr
Choral: Erhalt uns in der Wahrheit

SAB soli, SATB chorus / Piano ; ISMN:… Read More

Parker's first Christmas cantata was composed in 1893 just before his departure from New York to his new post as organist for Trinity Church in Boston. The text was written after scriptural accounts by the composer's mother Isabella Graham Parker (1839-1904). This new vocal score is a digitally-enhanced reproduction of the one first issued in 1893 by G. Schirmer, New York. n 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.

This is a new, digitally-enhanced reissue of the classic vocal score edited by H.W. Nicholl, with a piano reduction arranged by Felix Mendelssohn that was first issued in 1900 by G. Schirmer of New York. With English text by Charles Jennens adapted from the Bible, this authoritative score is now available in an affordable, easy to read format designed for choruses everywhere. 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.

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

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, 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

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)