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1
Boca Raton, Florida: American Media, Inc., 2003 Book. Very Good-. Mass Market Paperback. 1st Printing. Very good - mass market paperback. May be some rubbing or minor shelfwear but overall a nice clean tight copy..

Bookseller: Snowball Bookshop, Ohio, United States
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2
  • Book condition: Very Good
  • Quantity available: 1
New York, etc.: American Book Co., 1915. Soft Cover. Very Good/No Jacket. 64 pp. Binding is tight, with light rubbing on cover. Text is tight, clean, and unmarked

Bookseller: Dinsmore Books, Massachusetts, United States
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3

Te Deum, K.141/66b: vocal score

Wolfgang Amadeus Mozart ; Franz Xaver Gleichauf (arranger) ; Karel Torvik (editor)

Newly engraved and revised edition of Gleichauf's classic vocal score. Composed in in Salzburg in 1769, Mozart modeled this youthful work closely on a similar one by Michael Haydn (for which reason its authenticity had long been questioned). Mozart's piece divides the lengthy liturgical text into three contrasting sections, including a final rousing double fugue. Musicologist Alfred Einstein described the work as "sure in construction, thrilling in its choral declamation, and having a certain rustic South-German grandeur." Edwardsville: Serenissima Music, 2006. Plate 19412.

Bookseller: Serenissima Music, Inc., Illinois, United States
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4

Regina Coeli in C, K. 276/321b: vocal score

Wolfgang Amadeus Mozart ; Josef Scheel (arranger)

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. Original issue - Leipzig: Breitkopf & Hartel, n.d.(ca.1910). Plate 31137

Bookseller: Serenissima Music, Inc., Illinois, United States
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5

Schicksalslied, Op.54: vocal score

Johannes Brahms ; Eusebius Mandyczewski (editor)

Brahms started work on his lush setting of Friedrich Hölderlin's poem Hyperions Schicksalslied (Hyperion's Song of Destiny) in 1868 but did not complete it until 1871, being unsatisfied with the ending until he completed his better-known Alto Rhapsody, Op.53. The vocal score offered here is a clean digitally-enhanced reprint of the classic vocal score issued by Breitkopf & Härtel in the early 20th century edited by the eminent musicologist Eusebius Mandyczewski. Original issue - Leipzig: Breitkopf & Hartel, 1927. Plate 29840.

Bookseller: Serenissima Music, Inc., Illinois, United States
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6

Credo, RV 591: vocal score

Antonio Vivaldi ; Clayton Westermann (editor)

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. Original issue - New York: E.F. Kalmus, 1970

Bookseller: Serenissima Music, Inc., Illinois, United States
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7

Nänie, Op.82: Vocal score

Johannes Brahms ; Eusebius Mandyczewski (editor)

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 (Op.82, four-part chorus and orchestra) and the next year (1882) he set Goethe's Song of the Fates (Op.89, six-part chorus and orchestra). Brahms composed the piece in 1881, in memory of his 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. Original issue - Leipzig: Breitkopf & Hartel, 1927. P ... Read more

Bookseller: Serenissima Music, Inc., Illinois, United States
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8

Elijah, Op.70: chorus score

Felix Mendelssohn-Bartholdy

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, Kalmus, 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. Original issue - New York: G. Schirmer, 1892. Plate 36349.

Bookseller: Serenissima Music, Inc., Illinois, United States
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9

Gesang der Parzen, Op.89: vocal score

Johannes Brahms ; Eusebius Mandyczewski (editor)

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 (Op. 82, four-part chorus and orchestra) and the next year (1882) he set Goethe's Song of the Fates (Op.89, six-part chorus and orchestra).Goethe's text for Gesang der Parzen (Song of the Fates), Op.89 explores the concept of fate as it relates to mankind. The text admonishes us to "Fear the Gods! They hold the power In eternal hands And can use it As they please." Brahms' setting portrays the contrast between the capriciousness of the Fates and the uncertainty of mortals in a variety of ways. Unabridged digitally enhanced reprint of the composer's own vocal score that was issued by Breitkopf und Härtel in the early 20th century. Original issue - .Leipzig: Breitkopf & Härtel, 1927. Plate 29840

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10

Wedgwood Their Music, Their Journey

Thomsen, Marilyn, Wedgwood Trio with

Boise, Idaho: Pacific Press Publishing Association, 1996. Cover edges lightly rubbed. 176 pages.. 1st Printing. Soft Cover. Very Good+. 8vo - over 7¾" - 9¾" tall.

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11

Veni Sancte Spiritus, K. 47: vocal score

Wolfgang Amadeus Mozart ; A. M. Müller (arranger)

Along with the Benedictus, K. 117, this short work is among the earliest of Mozart's forays into liturgical music, which would reach their culmination with masterpieces like the Coronation Mass, K. 317 and the unfinished Requiem, K. 626. This large-format chorus and piano reduction, a digitally-enhanced reprint from an early 20th century score, includes measure numnets and is produced with the performer's needs in mind. 9 x 12 inches, 12 pages. Original issue - Augsburg: Anton Bohm, n.d.(ca.1920). Plate 10003

Bookseller: Serenissima Music, Inc., Illinois, United States
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12

Gelobet sei der Herr, mein Gott, BWV 129: vocal score

Johann Sebastian Bach ; Berhard Todt (arranger) ; Alfred Dörffel (editor)

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. Original issue - Leipzig: Breitkopf & Hartel, n.d.(ca.1890). Plate E.B. 7129

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13

Psalm 150, WAB 38: vocal score

Anton Bruckner ; Cyrill Hynais (arranger) ; Karel Torvik (editor)

Composed in 1892 as he he was working on his Ninth Symphony, Psalm 150 is Bruckner's final sacred work. The composer had set various psalms over the course of his career before finally turning to the very last of the Book of Psalms, No.150. It is one of the most musical of all, invoking a veritable orchestra of percussion, wind, and string instruments to join the people's voices in praise of God with music and dance. Edwardsville: Serenissima Music, 2006. Plate 19429.

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14
In a departure from his usual practice of setting traditional melodies, Grainger instead chose to set a traditional text to original music - in an English translation made with his mother Rose - of a Faroe Islands wedding verse originally collected by V. U. Hammershaimb in 1886. The result is a raucous celebration for 9 vocalists, chorus, and orchestra. This new vocal score is a digitally-enhanced reprint of the one originally issued in 1916 by Oliver Ditson. SSAATTBBB Soli and/or Chorus / Piano

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15

Te Deum (1886 revision): Vocal score

Anton Bruckner ; Josef Schalk (arranger)

Unlike so many of his symphonies, Bruckner's Te Deum was an unqualified success from the very first. The composer even referred to the piece as "the pride of my life." The vocal score prepared by Bruckner's friend Josef Schalk and first published by C.F. Peters is offered here in a digitally enhanced reissue featuring measure numbers, contents, and instrumentation. Compatible with the widely available public domain orchestral from Kalmus, Luck's and elsewhere. 8.27 x 11.69 inches, 44 pages. Original issue - Leipzig: C.F. Peters, n.d.(ca.1915). Plate 10489

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16

Benedictus sit Deus, K.117/66a: vocal score

Wolfgang Amadeus Mozart ; Joseph Messner (arranger)

  • Edition: Reprint (Augsburg: Anton Bohm, n.d.(ca.1920). Plate 10005)
  • Book condition: New
  • ISBN: 1932419233 / 9781932419238
  • Quantity available: 100
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. Original issue - Augsburg: Anton Bohm, n.d.(ca.1920). Plate 10005

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17

Fantasia for Piano, Chrous and Orchestra, Op. 80: vocal score

Ludwig van Beethoven ; Xaver Scharwenka (arranger)

Beethoven's "Choral Fantasy, Op. 80", composed late in 1808, is sometimes described as a prototype of the "Symphony No. 9, Op. 125." The first two thirds of the work could be described as a concert piece for piano solo and orchestra. Only after 400 measures does the chorus enter, with a tune that does bear some similarity to the renowned "Ode to Joy" - which was still 15 years in the future when ths work was composed. This new vocal score is a digitally enhanced reprint of the reduction prepared by the renowned pianist Xaver Scharwenka that was first issued by Breitkopf und Hartel, Leipzig in 1915. 8.5 x 11 inches, 36 pages. Original issue - Leipzig: Breitkopf & Hartel, 1915. Plate 27544

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18

Cantata No. 79: Gott, der Herr, ist Sonn' und Schild, BWV 79: vocal score

Johann Sebastian Bach ; Berhard Todt (arranger) ; Wilhelm Rust (editor)

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. Original issue - New York: G. Schirmer, n.d.(ca.1925).

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19

Wachet Auf, ruft uns die Stimme, BWV 140: Vocal score

Johann Sebastian Bach ; Wilhelm Rust (editor) ; Henry Sandwith Drinker (translator)

This is an unabridged digitally enhanced reprint of the vocal score originally issued ca. 1925 by G. Schirmer in New York, with an English translation by Henry S. Drinker. The Cantata 140 "Wachet auf, ruft uns die Stimme" is one of Bach's most widely performed choral works. It was premiered in Leipzig at the Thomaskirche on November 25, 1731 under the composer's direction. Original issue - New York: G. Schirmer, n.d.(ca.1925). Plate 42645

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20

Cantata No. 191: Gloria in Excelsis Deo, BWV 191: vocal score

Johann Sebastian Bach ; Berhard Todt (arranger) ; Alfred Dörffel (editor) ; Karel Torvik (editor)

An insteresting 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. Gloria in Excelsis Deo Gloria Patri Sicut Erat in Principio 8.27 x 11.69 inches, 48 pages. Edwardsville: Serenissima Music, 2006. Plate Z752091

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