Orchestra Clarinet 1, Clarinet 2, Contrabass, Horn 1, Horn 2, Oboe, Percussion, Piano, Piccolo, Trumpet 1, Trumpet 2, Viola, Violin 1, Violin 2, Violoncello, tenor voice

SKU: CF.SC49

Composed by Henry Brant. SWS. Classical. Large Score. With Standard notation. Composed 1938/1984R. Carl Fischer Music #SC49. Published by Carl Fischer Music (CF.SC49).

ISBN 9780825847196. UPC: 798408047191. 9 X 12 inches.

An early (1938) non-spatial work by Henry Brant, whose Ice Field won the Pulitzer Prize for Music, Whoopee in D is scored for a modestlysized orchestra of single winds, 2 clarinets, 2 horns, 2 trumpets, trombone, piano, percussion (1 player) and strings. The piece satirizes the standard light opera/musical comedy type of overture. The composer describes it as the prelude to a comic-strip opera as revealed in a nightmare. In a brief and rollicking four minutes, Brant takes a fragment of Bach's accompanying melody from the choral prelude Wachet auf! (also familiar from its use in Cantata No. 140) and subjects it to several clever parody-variations in polka, rumba and march style. A tour de force for a chamber orchestra, Whoopee in D has always been a great audience pleaser. Orchestral parts are available on rental.

Grade 2

SKU: CL.CTS-7748-00

Composed by Conrad Kocher. Arranged by Claude T. Smith. Young Concert Band. Score and set of parts. Composed 1984. Claude T. Smith Publications #CTS-7748-00. Published by Claude T. Smith Publications (CL.CTS-7748-00).

Claude T. Smith created a notable addition to easy literature in this impressive concert chorale. The dynamic subtilties and long tones make this a great teaching or warm-up piece. Appropriate for sacred or secular occasions.

Chamber Music Flute, Piano, Viola

SKU: PR.11440719S

Composed by Nathan Currier. Set of Score and Parts. With Standard notation. 44 pages. Duration 11 minutes, 30 seconds. Theodore Presser Company #114-40719S. Published by Theodore Presser Company (PR.11440719S).

UPC: 680160011087. 8.5 x 11 inches.

Sambuca, which most people know today as a licorice-flavored liqueur, was the name the Greeks gave to a kind of sharp, shrill-sounding harp, of Eastern, possibly Jewish origin. The Greeks then gave this same name to a wooden flute made from the elder bush, and in the middle ages it was also associated with the viol, at least to the extent that the Hurdy-gurdy, an instrument shaped like a viol and played by means of a rotating wheel, was sometimes called a Sambuca rotata. Thus, the word Sambuca is tied up with the ancestors - in each case, ancestors of ow birth, as it were - of the modern harp, flute, and viola. Somehow, the present-day association with alcohol seems very meet, in that a certain objectionable quality seems to have gone with the name - in 1545 one George Ascham wrote, This I am sure... all maner of pypes, barbitons, sambukes... be condemned of Aristotle. The word Sambucistria - for a female Sambuca player - was used by Plutarch and others to evoke a feeling of foreign-inspired decadence [Grove's Dictionary of Musical Instruments, 1984]. Currier's work is truly a Sambuca sonata. Written for the three Sambuca instruments, Currier has first of all seemingly endeavoured to make the harp part particularly Sambuca-like (i.e., sharp and shrill) with its many nail and xylophonic effects, but more importantly, has used musical material that corresponds to the low-brow, somewhat Dionysian, indeed, today even Bacchanalian implication of the name - thus, rock music seems to inspire a great deal Currier's work [the Samba, an appropriately Bacchanalian Brazilian Carnival dance, in duple meter with syncopations, while apparently having no etymological connection to Sambuca, might seem to be musically involved, too]. The Sambuca which lies behind this rather drunken piece is probably the only musical instrument which became a model for an instrument of war; one Craxton wrote in 1489 that Sambuce is an engyn whiche is made in manere of a harpe able to perce a walle. But whether talking of the modern liqueur or the ancient instrument condemned of Aristotle and mentioned four times in the Book of Daniel, it is a shame that Debussy - inspired by the Dionysian side of classical culture (as in Prelude a l'apres-midi d'un faune) - seems to have remained ignorant Sambuca, a word which to some extent must lie behind all works for this wonderful instrumentation which he invented, and which I might seem to have striven unconsciously, equally ignorant, to make the sole basis of Currier's work - until, having completed this piece, written for harpist Marie-Pierre Langlamet, and rummaging around for a title, I chanced upon it in an old dictionary.

Edited by Robert Schafer and Wilhelm Ohmen. Piano. Copyright 2020 Schott Music GmbH and Co. KG, Mainz. Classical. Score. Schott Music #ED23307. Published by Schott Music