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

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

$55.00 USD
$55.00 USD
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Serenade No. 1 for Strings in C, Op. 62 Cover Image
Serenade No. 1 for Strings in C, Op. 62: String Orchestra Score & Parts

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

By Robert Volkmann

Item: 36-A326802
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Description
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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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
UPC: 735816093532
SKU: 36-A326802
Instrumentation: String Orchestra (8-8-5-5-5)

More about this title

About the Composer: Robert Volkmann

Robert Volkmann (1815-1883) occupied a significant place in mid-nineteenth-century musical life, earning the respect of three titans of the era: Robert Schumann encouraged his early work, Johannes Brahms called him "dear friend," and Franz Liszt invited him to teach alongside him at Budapest's National Academy of Music. His chamber and orchestral works circulated widely among concert halls and music societies throughout Europe.

Volkmann's music faded from standard repertoire after World War I, along with that of many fine Romantic composers whose names were eclipsed by the towering figures of the period. Rediscovering his string serenades offers modern ensembles access to elegant, well-crafted writing that reveals why his contemporaries valued his work so highly.

Why we love this

The three string serenades represent Volkmann at his most assured and inventive, and this C major work sits at the heart of that achievement. A string orchestra serenade this rewarding rarely appears on school concert programs, making it an opportunity to program something genuinely substantial without retreading the same twenty pieces every season.

What to expect

Cultivated and gracious without pretense, the serenade unfolds like a conversation among intimate friends. Volkmann's melodic gift runs throughout, and his harmonic language moves with gentle inevitability, creating passages of quiet beauty that linger after the final chord.

Who it's for

String orchestra directors seeking repertoire that demands serious musicianship without requiring specialized expertise or extensive rehearsal time. This work suits intermediate to advanced ensembles preparing for festival performance or concert programming that values breadth over trend.

How to get the most out of it

  • Balance the first violin melody against inner voice movement; the violas and cellos carry important harmonic material that shouldn't sink into accompaniment texture.
  • Shape phrases according to the natural breathing patterns of a string serenade rather than forcing climaxes. Volkmann's harmonic language suggests where to press forward and where to ease back.
  • Invest rehearsal time in clean ensemble articulation across sections. The writing is transparent enough that rhythmic precision becomes immediately audible.
  • Observe the dynamic markings with care; they're spare enough that each one carries weight and clarifies structural intent.

How to use it

Program this alongside another string work from the nineteenth century to create a coherent arc of string writing through the era. The serenade's moderate length and accessible character make it an excellent closing piece for a concert, leaving audiences with a sense of refinement and ease.

Skills your students will build

  • Sustaining long lyrical lines with consistent tone production
  • Reading and balancing inner voice harmonic progressions
  • Shaping musical phrases through dynamic and tempo flexibility rather than dramatic extremes
  • Ensemble intonation across multiple octaves of the same harmonic material
  • Responding to sparse dynamic markings as structural signposts

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