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Easily the most popular of the collection of overtures produced by Suppe for this operettas, the one for the 1866 Die Leichte Kavallerie entered the concert repertoire soon after its premiere. The study score offered here is a thoroughly-researched and beautifully engraved new edition prepared by conductor Clark McAlister. Besides the convenient format study score offered here, McAlister's excellent edition is also available as a large condcutor score and orchestral parts.

Strauss' Morgenblätter is an interesting example of a a work composed as a kind of 'response' to that of another composer. Jacques Offenbach, a French composer whose work served as competition for Strauss' own in Vienna, was commissioned to provide a new waltz by the Vienna Authors' and Journalists' Association to be performed at the January 12, 1864 'Concordia Ball'. This work was promptly nicknamed Abendblätter by the journalists and Stauss, whose orchestra was performing the concert was likewise asked for a new work for the event. Strauss cleverly left the title of the new work to the Association, who naturally selected Morgenblätter. The Strauss work was one of his best, and remains popular to this day. This new study score is a reduced-sized reissue of the newly engraved performing edition prepared by Clark McAlister previously issued by the defunct American publisher E.F. Kalmus. The large conductor score and orchestra parts are also now exclusively available from Serenissima Music.

Started in 1867 and first conceived of as an oratorio, Camille Saint-Saëns completed his most famous opera Samson et Dalila in 1877 with the encouragement of Franz Liszt. It was Liszt who arranged to have the opera staged in Weimar. The story focuses around Dalila and her seduction of Samson to learn the secret of his strength. She is portrayed as a manipulative women bent on revenge. The Bacchanale, known more as a concert piece, is in act 3 and depicts the Priests of the temple in a wild savage dance after the capture of Samson. This new beautifully engraved score by Richard W. Sargeant, Jr. of one of Saint-Saëns's most famous and beloved works, is truly tempting. IMSLP page (opera) Wikipeida article (opera)

Suppe's operetta Dichter und Bauer (Poet and Peasant) was the first to earn him a reputation as a composer in Vienna. His reputation as a conductor was established two years before at the Theater in der Josefstadt, where he composed incidental music to the play Ein Morgen, ein Mittag, und ein Abend in Wien, whose overture remains in the orchestral repertoire to this day. By the premiere of Dichter und Bauer, at the Theater an der Wien on August 24, 1846, Suppe was no longer conducting for free. The operetta was successful and the overture entered the orchestral repertoire soon after. The opening cello solo was even quoted in the American song published in 1894 - "I've been Working on the Railroad". The study score offered here is a reduced-format reissue the newly-engraved and reasreached large score first issued in 2007. IMSLP page All Music Guide

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 by Vivaldi's fellow Venetian - Giovanni Maria Ruggieri. This new vocal score is a digitally enhanced reprint of the one originally prepared by the American musicologist Clayton Westermann in 1967 and includes the editor's helpful preface. Now available in an easy-to-read A4 format, with measure numbers and an improved layout, at an affordable price.

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

Composed for Reformation Day (October 31) in 1725, this cantata was re-orchestrated 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. Matching full score and orchestral parts are also available from Serenissima Music (92514).

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.