Serenade No. 1 for Strings in C, Op. 62 Cover Image

Serenade No. 1 for Strings in C, Op. 62: String Orchestra Conductor Score

$15.00 USD

Serenade No. 1 for Strings in C, Op. 62: String Orchestra Conductor Score

Name: Serenade No. 1 for Strings in C, Op. 62: String Orchestra Conductor Score
Brand: Alfred Music
SKU: 36-A326801
Price: 15.00 USD
Availability: InStock

By Robert Volkmann

Item: 36-A326801

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While not so well-known today, Robert Volkmann (1815-1883) was a composer of some standing among his contemporaries, encouraged to pursue music by Robert Schumann, called "dear friend" by Johannes Brahms, and promoted by Franz Liszt with whom he taught at Budapest's National Academy of Music. This SERENADE FOR STRINGS is one of three written by Volkmann, all three of which were among his most popular works and which were often performed up until World War I, when he and his music began to disappear, like the music of other fine Romantic era composers.

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Series: Kalmus Orchestra Library

Publisher: Keiser Productions, Inc.

ISBN10: 1-63-887241-4

ISBN13: 978-1-63-887241-2

UPC: 735816093839

SKU: 36-A326801

Instrumentation: String Orchestra (8-8-5-5-5)

More about this title

About the Composer: Robert Volkmann

Robert Volkmann (1815-1883) occupied a distinctive position in the European musical landscape of the mid-nineteenth century, earning the respect of three towering figures of his era: Robert Schumann encouraged his early ambitions, Johannes Brahms called him "dear friend," and Franz Liszt promoted his work and invited him to teach alongside him at Budapest's National Academy of Music. His compositions, particularly his serenades and chamber works, circulated widely among concert societies and amateur ensembles throughout Europe.

Volkmann's music faded from standard repertoire after World War I, a fate he shared with many accomplished Romantic-era composers whose styles fell out of fashion. His three string serenades, however, were among his most celebrated works during his lifetime and remain accessible, lyrical examples of nineteenth-century string writing that reward both student and professional orchestras.

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Why we love this

This serenade offers string orchestras a substantial yet manageable work from the Romantic canon that sits comfortably between undergraduate and professional levels. The writing balances technical demands with genuine musicality, allowing young orchestras to experience period string technique without overwhelming them, while the score's architecture rewards careful rehearsal with immediate musical payoff.

What to expect

Volkmann's serenade radiates the graceful formality of mid-Romantic salon music, unfolding with understated elegance rather than dramatic sweep. The writing invites intimate expression from the strings while maintaining structural clarity, creating passages that feel both reflective and gently buoyant.

Who it's for

String orchestras seeking accessible Romantic repertoire that develops musicianship beyond contemporary works. This score suits university string orchestras, advanced high school ensembles, and professional groups programming nineteenth-century European music. Conductors will find the instrumentation (8-8-5-5-5 strings) scalable to most ensemble sizes.

How to get the most out of it

Shape the melodic lines with consistent phrase arcs rather than emphasizing individual accents; the Romantic idiom favors long-line singing across multiple bars.
Balance the first violin line against the harmonic foundation provided by lower strings and violas, ensuring the accompaniment doesn't eclipse the primary voice.
Maintain transparent texture in passages where Volkmann thins the orchestration; resist the urge to add weight where the score intentionally lightens.
Use the conductor score to identify the harmonic movement and guide ensemble cohesion through sections where violins divide; clear conducting preserves ensemble integrity across the parts.

How to use it

Program this alongside contemporary string works to contextualize Romantic string orchestration and sensibility within a modern recital. It pairs naturally with other serenades or divertimenti from the period, or it can serve as a principal work on a concert exploring lesser-known Romantic composers championed by Schumann, Brahms, and Liszt.