Bücher veröffentlicht von Serenissima Music

Suppe's sparkling seven-minute overture was composed for a stage play with added music first performed in Vienna's Theater in der Josefstadt on February 26, 1844 under the composer's baton. Suppe was fairly new at the podium and actually volunteered for the position with no pay in order have the opportunity to perform his own new works. Although not as famous as the later Poet and Peasant, it shares many of the features of the later masterwork. The study score here is a newly-engraved and researched performing edition prepared by Clark McAlister. IMSLP page All Music Guide

Orchestra: 2+1, 2, 2, 2 - 4, 2, 3, 0, timp, strISMN: 979-0-58021-069-2

Edwin Eugene Bagley (1857-1922) was born in Craftsbury, Vermont, and started his music career at the age of nine as a vocalist and bellringer. In spite of never having had formal music lessons he became a successful cornet player, trombonist and composer. He moved to Boston in 1880, became solo cornet player in the Boston Theater, and traveled with the Bostonians, an opera company, for nine years, and later played with the Germania Band. He eventually settled in New Hampshire, where he directed several city bands. It is believed Bagley started composing the 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. The first recording of it was made in 1908 by the band of Arthur Pryor, on the Victor Talking Machine Company label. It has since appeared in more than one dozen published editions. National Emblem, which features an excerpt of The Star Spangled Banner, deservedly became the most famous of Bagley's marches, and 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 written named two of his own works as the first two, and National Emblem as the third. This new edition by Richard W. Sargeant Jr. remains true to the composer's original orchestration, omitting the bloated extra instrumentation which was inserted by publishers over the years. As with the others in this series, it is designed to offer band directors and others interested in this genre newly engraved authoritative editions prepared from the primary sources using the composer's original instrumentaion, which is sometimes markedly different from that found in bands today. IMSLP page Wikipedia

American impressionist composer Charles T. Griffes orchestrated the present piece, originally the first of his four Roman Sketches for piano, in 1919 for a ballet performance given in New York. The arrangement makes use of the full palette of orchestral color in a six-minute tone poem. The work has remained in the repertoire of orchestras to this day. The score presented here is a meticulously researched and newly engraved edition by Richard W. Sargeant, Jr. The large conductor score and orchestra parts are now also available from Serenissima Music.

Sargeant's unique orchestration of Brahms' popular set of sixteen waltzes is a welcome addition to the symphonic repertoire. Brahms composed the original piano duet version in 1865 and arranged them for piano solo the same year. He later arranged five for 2 pianos which were published posthumously. Sargeant's orchestration, though employing a Brahms-size orchestra, is more contemporary in orchestrational style but remains entirely performable by any reasonably practiced non-professional ensemble. The matching full score and orchestra parts are also available from Serenissima Music.

Haydn's "Grosses Te Deum" was probably composed in 1800 for a performance given at Eisenstadt in the fall of that year. Scored with a full orchestral accompaniment, it was first published in 1802 by Breitkopf und Hartel. The score here is a newly engraved vocal score edited by Richard W. Sargeant Jr. - in a format specially designed for maximum readability for choruses. IMSLP page All Music

The second of four tone poems for orchestra inspired by those of Franz Liszt, Phaeton was composed in 1873 and like its predecessor is named after a figure in Greek mythology. The tragic tale concerns Phaeton, the son of Helios (the Sun God) and Clymene, who separated from Helios and subsequently married to mortal king. Seeking assurance that the sun god was his true father, Phaeton obtained permission from Helios to drive his sun chariot. Unable to control the chariot and in danger of destroying the earth, the unfortunate Phaeton was killed by a bolt from Zeus to avert disaster. The score presented here is a newly engraved edition prepared by Richard W. Sargeant, Jr. IMSLP page All Music Guide

A companion to the new edition of this American choral masterpiece, this choral score features a complete piano reduction - reduced to cue-note size. This reformatting allows for printing on a more convenient format for choruses, at a more reasonable price.