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L'apprenti sorcier - also widely known as The Sorcerer's Apprentice - is a symphonic poem originally subtitled as "Scherzo after a Ballad by Goethe". Inspired by Goethe's poem of the same name, Dukas' musical depiction closely follows the narrative of the original tale. Because of this, Disney animated the story for the film Fantasia which resulted in the work becoming widely known to mainstream audiences around the world. The study score offered here is a newly engraved edition meticulously prepared from the primary sources available by Richard W. Sargeant, Jr. IMSLP page Wikipedia article

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 transposied 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 newly engraved study score is based upon the composer's manuscript and other authoritative sources.

Composed in 1783 for Antonin Kraft, cellist in the court orchestra of Prince Esterhazy, Haydn''s D major cello concerto for cello is more relaxed than its predecessor composed nearly two decades before. Though some authorities considered its authenticity questionable, this was disproved with the discovery of the composer''s manuscript in 1951. Of Haydn''s two cello concertos, this one is more demanding for the cellist than its older sibling in C major (whose manuscript was discovered a decade later). The score offered here is reduced-format version of the performing edition prepared by Clark McAlister first issued in 2010. The large conductor score and orchestra parts are also available for sale from Serenissima Music.

Part of Russia's "Mighty Handfull" Borodin wrote very little piano music, concentrating mainly on chamber and orchestral works, when not sering as a Chemistry professor. Borodin composed his Tarantella in 1862 for piano 4 hands. It is a sparkling tour de force using the entire range of the piano. In this brilliant orchestration by Richard W. Sargeant, Jr., a large orchestra employs a kaleidoscopic palate to convey the excitement of this amazing early Borodin work. IMSLP page All Music Guide

By far the most famous of three known settings of the Gloria text by Vivaldi, this one most likely dates from early in the composer's tenure at the Ospedale della Pietà in Venice (ca.1715). 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 newly engraved Full score from Richard W. Sargeant, Jr. is a vast improvement over many previous editions. Based on the most authoritative sources this corrected score is a must for choral enthusiasts. The large conductor score and orchestra parts for this new edition are also available from Serenissima Music.

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 and issued later that year as his Op.52. The conductor Ernst Rudorff persuaded Brahms to orchestrate the accompaniment for 8 of the 18 selections (plus another subsequently included in his Op.65 set) for a concert given at Berlin's Hochschule on March 19, 1870. Offered here is a new edition and orchestration of the entire Op.52 by Richard W. Sargeant Jr. Brahms' own orchestration is retained for the eight selections he prepared for the 1870 concert while the remaining ten have been orchestrated by Sargeant using the same forces employed by the composer. The large conductor score and orchestral parts are now also available from Serenissima Music.

In the wake of the positive reception of Brahms's first set of Liebeslieder-Walzer after their 1869 premire, the conductor Ernst Rudorff persuaded the composer to orchestrate the accompaniment for 8 of the 18 selections (plus a ninth piece subsequently included in the Op.65 set) for a concert given at Berlin's Hochschule on March 19, 1870. Offered here is a newly researched and superbly engraved edition by Richard W. Sargeant, Jr.

Following the success of his first volume of choral-watzes 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 features numbers for solo voices placed between the 4-voiced settings. The first complete performance was given in Karlsruhe on May 8, 1875. The conductor Ernst Rudorff persuaded Brahms to orchestrate the accompaniment for No.9 (in an early version) for a concert given at Berlin's Hochschule on March 19, 1870. Offered here is a new orchestration by Richard W. Sargeant, Jr. Brahms' own orchestration is retained for his early version of the ninth song, while the final version of No.9 and the remainder have been newly orchestrated with the same forces employed by the composer.

Composed by a 26-year-old John Knowles Paine between 1860 and 1866, the Mass in D, Op. 10 was the first large-scale American work performed before a sophisticated musical audience in a European capital. The premiere, with soli, 200-member chorus and orchestra, was conducted by the composer in Berlin's Singakademie on February 16th, 1867 to much acclaim. This newly engraved and thoroughly researched study score here has been prepared by Paine scholar David P. DeVenney from the composer's manuscript, an early fair-copy from ca.1868 and the 1866 first edition vocal score issued under the composer's supervision in New York.

Weber's final and only opera in English was a rousing success at its London premiere, with performances following throughout Europe and in America. The composer was dissatisfied with the structure of the the work after its first hearing and planed to revise the opera upon his return to Germany. The planned revision was never started due to his premature death less than two months later thanks failing health made worse by a grueling schedule. As with Weber's other opera overtures the music highlights his best music from the opera and showcases his brilliant style. This new edition prepared by Richard W. Sargeant, Jr. has been meticulously researched to bring Weber's final masterpiece for the enjoyment of professionals and amateurs alike.

Weber completed the opera in 1820 which was premiered the following year with international success. Long regarded as the first German nationalist opera and the first German Romantic opera for its patriotism and stark emotion. His musical portrayal of the supernatural is both scary and gruesome which inspired many young composers of the then new Romantic school including Richard Wagner and Hector Berlioz. The overture - which has been a concert favorite since the premiere - is presented here in a newly engraved edition by Richard W. Sargeant. Jr. Based on the composer's manuscript and other authoritative sources, this new score has been meticulously researched and showcases Weber's orchestral brilliance for the enjoyment of professionals and amateurs alike. IMSLP page Wikipedia

Widely considered a grand, heroic, romantic opera and one of Weber's finest, Euryanthe is unfortunately rarely performed because of its weak libretto and plot's implausibilty. Such defects don't apply to instrumental works thankfully, and the overture - which contains some of the best music in the opera - has become a worldwide concert favorite. As with Weber's other opera overtures the themes are closely linked to the opera and perfectly capture the mood and tone of the entire work. This newly engraved edition by Richard W. Sargeant, Jr. has been meticulously researched and shows the orchestrational brilliance of this classic overture in a clean, readable format sure to be appreciated by performers and students alike. IMSLP page Wikipedia