SKU: AP.49070S

ISBN 9781470647933. UPC: 038081567150. English.

This multi-level piece includes a full set of parts for grade 2 as well as a full set for grade 3 ensembles. Mix and match the parts as you need---perfect for mixed-ability ensembles!

Crazy Train was co-written by one of Mark Wood's main influences and favorite guitar players, Randy Rhoads, a neo-classical rock guitar player. When Wood discovered him, Rhoads was fully entrenched in the standard rock/blues style, yet had wonderful control of the flourish and esthetic of classical music in his playing. The influence was perfect for Mark Wood, who was an up-and-coming rock violinist at the time. For string orchestra with optional rock rhythm section parts. (5:30)

Download Play-Along Track

SKU: AP.49920S

ISBN 9781470662196. UPC: 038081579399. English.

Made You Look is a smash hit performed by the GRAMMY Award winning singer/songwriter Meghan Trainor. This terrific song, arranged by Chris M. Bernotas, is full of energy and spirit! The infectious melody will have your audience dancing in the aisles. (2:20).

SKU: SU.25100530

Full size score (11x17)The composer's answer to Ravel's Bolero.2,1 222; 4331; timp, 3perc, hp; stgs Duration: 8’30 Composed: 2020 Published by: Gusthold Music Publisher Performance materials available on rental:.

SKU: RU.NW001

SKU: LO.30-3192L

UPC: 000308140576.

Opening with the scene at Easter dawn, this piece builds dramatically in intensity until the strains of the beloved EASTER HYMN burst through with optional congregational participation. It is equally effective when performed with Mark’s keyboard accompaniment, orchestra, or brass and timpani. The instrumental ensemble includes a score and CD with printable parts for 2 Flutes, Oboe, 2 Clarinets, Bassoon (sub Bass Clarinet), 2 Horns (sub 2 Alto Saxes), 3 Trumpets, 2 Trombones (sub 2 Tenor Saxes), Tuba, 2 Percussion, Timpani, Harp, Piano, 2 Violins, Viola, Cello, Bass, and Keyboard String Reduction.

SKU: CA.4012950

ISBN 9790007254650. German/English.

Mendelssohn's St. Paul with just seven instead of the usual 18 wind instruments? Thanks to this arrangement for chamber orchestra, a performance with smaller forces is now possible, and presents an attractive alternative for performing Mendelssohn's first oratorio - not only in times of Corona. For it is often considerations of space, a limited budget, or the size of the chorus which call for flexibility in scoring.
The arrangement is based on the Carus Urtext edition. By reducing the symphonic wind and brass in particular, the volume of sound is more restrained, but nevertheless the symphonic character and a wide dynamic range are retained. All the vocal parts (soloists and chorus) are identical with the original version, so that the vocal scores, choral scores, and practice aids of the existing Carus edition can still be used.

Major oratorio can also be performed by smaller choirs
Wind and brass parts of the original version reduced to just seven single instruments
vocal scores and choral scores from the original version can be used
carus plus: the work (original version) is available in carus music, the Choir Coach, and in the Carus Choir Coach (Audio only) series.
. Score available separately - see item CA.4012900.

SKU: SU.27040170

Conductor's scoreUrban Collision completes a trilogy of city-inspired orchestral works; the title of the work refers to the complex urban counterpoint—or the colliding of city-sonic events from traffic sounds, to elevated trains and jackhammers.2,1 2,1 2,1 2,1; 4331; timp, 3 perc, hp, pno; stgs Duration: 7:30 Composed: 2003 Published by: Hutter Music Performance materials available on rental only:.

SKU: BR.PB-5432

World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017

Have a look into EB 9283.

ISBN 9790004212790. 10 x 12.5 inches.

Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.

World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020.

SKU: HL.48024144

ISBN 9781784540845. UPC: 888680712136. 5.25x7.5x0.259 inches.

30-minute suite for orchestral with female chorus from Khachaturian's celebrated ballet, Spartacus (1955). Scene 9 presents the culmination of the drama, to music strongly reminiscent of Khachaturian's Cello Concerto: Spartacus – among treacherous pirates – faces the apparent collapse of the rebellion, and his death is followed by a powerful yet relatively restrained Requiem with chorus, followed by a stirring apotheosis. Performance materials available on hire. Suitable for advanced standard performers.