Symphony No. 6 in G, Op. 38 'Symphonie Spirituelle' (Sacred Symphony) Cover Image

Symphony No. 6 in G, Op. 38 'Symphonie Spirituelle' (Sacred Symphony): String Orchestra Conductor Score & Parts

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Symphony No. 6 in G, Op. 38 'Symphonie Spirituelle' (Sacred Symphony) Cover Image
Symphony No. 6 in G, Op. 38 'Symphonie Spirituelle' (Sacred Symphony): String Orchestra Conductor Score & Parts

Symphony No. 6 in G, Op. 38 'Symphonie Spirituelle' (Sacred Symphony): String Orchestra Conductor Score & Parts

By Asger Hamerik

Item: 36-A104502
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Description
Asger Hamerik (1843-1923) was a Danish composer during the late Romantic period. Considered during his lifetime the best-known Danish composer after Niels Gade, he studied with Hans von Bülow and Hector Berlioz, the latter having a great influence on his style. After some movement around Europe, in 1871 Hamerik took a position in the United States at the Peabody Institute in Baltimore, Maryland. It was during his time there that he composed most of his large-scale works, having the Institute's orchestra at his disposal. Returning to Denmark in 1900 with his American pianist and composer wife, he essentially retired and lived out the remainder of his life in his home country, occasionally sitting on competition boards and conducting. Symphony No. 6 in G, Op. 38 'Symphonie Spirituelle' was written for string orchestra in 1897, just a few short years before his return to Denmark. A string count of 8-8-5-5-5 is included in the set.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
UPC: 676737620578
SKU: 36-A104502
Instrumentation: Detailed Instrumentation: String Orchestra (8-8-5-5-5 in set)

More about this title

About the Composer: Asger Hamerik

Asger Hamerik (1843-1923) was a Danish composer whose career spanned two continents and bridged the Romantic and early modern eras. After studying under Hans von Bülow and, most significantly, Hector Berlioz, Hamerik established himself as a major symphonic voice in nineteenth-century Europe. His connection to Berlioz shaped his orchestral thinking throughout his life, evident in the breadth and harmonic sophistication of his large-scale works.

In 1871, Hamerik accepted a position at the Peabody Institute in Baltimore, where he remained for nearly three decades. Access to a dedicated orchestra proved transformative; the majority of his symphonic output emerged during these American years, including the Sixth Symphony. When he returned to Denmark in 1900, he had secured his place among the most significant Danish composers of his generation, a stature he maintained through occasional conducting and service on competition juries until his death.

Why we love this

Hamerik's Sixth Symphony offers string orchestras a substantial, musically mature work that sits comfortably between the standard Romantic repertoire and lesser-known treasures worth rediscovering. The 'Symphonie Spirituelle' designation signals thematic and harmonic ambitions beyond typical nineteenth-century salon writing, yet the piece remains performable by accomplished community orchestras and university ensembles. Programming this work signals serious engagement with music history beyond the usual canon.

What to expect

The 'Symphonie Spirituelle' unfolds with the introspective depth its title promises, blending Romantic warmth with moments of harmonic exploration that feel both inevitable and surprising. String voices interweave in textures that honor the lyricism of the era while reaching toward something more expansive in scope and emotional range. This is music that values sustained beauty and architectural coherence over mere decorative effect.

Who it's for

String orchestras seeking repertoire that combines Romantic lyricism with genuine structural sophistication will find a rewarding score in the Sixth Symphony. University ensembles, community orchestras, and advanced youth orchestras capable of sustaining longer phrases and executing chromatic writing with intonation precision can take on this work as a centerpiece for a concert or festival performance.

How to get the most out of it

  • Balance the string sections carefully across the three movement layout; the 8-8-5-5-5 string count assumes a full violin body, but smaller ensembles may need to adjust dynamic markings proportionally to maintain clarity in the harmonic texture.
  • Attend closely to Hamerik's harmonic progressions, which show Berlioz's influence through unexpected tonal shifts and chromatic voice-leading; resist the urge to homogenize sonorities and instead let the individual string lines sing through the texture.
  • Use the conductor score to trace the architectural logic across movements; understanding the thematic connections and key relationships will help you shape phrase structure convincingly and guide the ensemble toward unified interpretation.

How to use it

This symphony works effectively as a concert centerpiece, particularly when paired with other Romantic-era symphonic works or positioned alongside contemporary pieces that share Hamerik's harmonic language. Consider programming it during a season exploring Scandinavian composers or as part of a retrospective on late-Romantic symphonic writing. The work's length and seriousness of intent make it ideal for a dedicated concert rather than a short program segment.

Skills your students will build

  • Sustaining pure, unified string sonority across extended phrases
  • Reading and executing chromatic voice-leading with accurate intonation
  • Responding to subtle harmonic shifts and tonal inflections
  • Maintaining ensemble cohesion through late-Romantic harmonic language
  • Interpreting thematic material across multiple movements with structural awareness

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