Percussion

SKU: HL.49006745

Idee und Ansatz. Composed by Harald Weiss. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. 16 pages. Schott Music #ED 6860. Published by Schott Music (HL.49006745).

ISBN 9790001072656. 9.0x12.0x0.07 inches. German.

Harald Weiss was originally a professional percussionist who had studied at music colleges in Hanover and Hamburg. From1970-74, he played in a variety of ensembles including the NDR Studio Orchestra, the Orchestra of the Staatsoper Hamburg and in the Ensemble Musica Negativa and from 1973 held a professorship in arrangement/ensemble and percussion at the Musikhochschule in Hanover for eleven years. It was during this period that the three volumes of Schlagzeugwerkstatt were created: teaching material compiled by Weiss consisting of exercises and studies for percussion ensemble. These pieces provide professional percussionists, instrumental teachers and amateurs with a wide collection of concepts and exercises for the extension of performance techniques and improvement of ensemble playing.

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (Study Score)

SKU: HL.49018099

Boy Soprano, Soprano, Tenor, Flugelhorn, Mixed Chorus, and Chamber Orchestra Study Score. Composed by Harald Weiss. This edition: Paperback/Soft Cover. Sheet music. Study Score. Classical. Softcover. Composed 2008/2009. 188 pages. Duration 100'. Schott Music #ED20619. Published by Schott Music (HL.49018099).

ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.

On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.

Mixed choir (SSATBarB), children's voice, percussion and organ (Schlagzeug (4 Spieler): I gr. Tr. * Trgl. * Amboss - II Kieselsteine in 3 Sackchen * Crot. (ad lib. Glsp.) - III Donnerblech * Tamt. * Glassplitter - IV Rohrengl.) - intermediate

SKU: HL.49044344

Fur gemischten Chor (SSATBarB), Kinderstimme, Schlagzeug und Orgel. Composed by Harald Weiss. This edition: Saddle stitching. Sheet music. Edition Schott. Als Kind schloss ich manchmal fur langere Zeit meine Augen, um mir vorzustellen, wie es wohl ware, wenn man die Welt vorwiegend durch seine Ohren an sich heranliesse. Bei dieser Ubung machte ich immer wieder und zunehmend intensiver die Feststellung, dass. Softcover. Composed 2012. 48 pages. Duration 14'. Schott Music #ED21663. Published by Schott Music (HL.49044344).

ISBN 9790001194143. 9.0x12.0x0.196 inches. German.

As a child, I sometimes closed my eyes for an extended period of time and imagined what it would be like to experience the world exclusively through my ears. In doing this exercise, I found over and over, with increasing intensity, that my sense of hearing enabled a far denser differentiation of images and information to penetrate my soul. It is my wish that audiences listen to my composition with their eyes closed, at least partially. Perhaps this would permit a few particles of light to appear in their mind's eye. Harald Weiss.

Sologuitar, guitar ensemble, string orchestra and percussion (ST CHOR) - intermediate

SKU: HL.49001872

Composed by Harald Weiss. Sheet music. Concertino (Chamber Orchestra). Classical. Set of Parts. 166 pages. Duration 15'. Schott Music #CON 180-50. Published by Schott Music (HL.49001872).

ISBN 9790001024600.

A modern instrumental piece with technically easy playing processes and a distinctive instrumentation. Strings are mostly divided, their number and range can be extended as one likes, the same applies to the guitar ensemble. Alternative instruments are indicated for the two percussionists. An attraction for young guitar and string ensembles.

Viola - advanced

SKU: HL.49044650

Fur Viola solo. Composed by Harald Weiss. This edition: Saddle stitching. Sheet music. String Solo. Softcover. Composed 2014. 4 pages. Duration 4'. Schott Music #VAB89. Published by Schott Music (HL.49044650).

ISBN 9790001203302.

Violin - advanced

SKU: HL.49044652

For violin solo. Composed by Harald Weiss. This edition: Saddle stitching. Sheet music. String Solo. Softcover. Composed 2014. 4 pages. Duration 4'. Schott Music #VLB200. Published by Schott Music (HL.49044652).

ISBN 9790001203326. UPC: 840126938845. 9.0x12.0x0.066 inches.

Cello - advanced

SKU: HL.49044610

For violoncello solo. Composed by Harald Weiss. This edition: Saddle stitching. Sheet music. String Solo. Softcover. Composed 2014. 4 pages. Duration 4'. Schott Music #CB281. Published by Schott Music (HL.49044610).

ISBN 9790001203258.

Percussion

SKU: PR.ZM23670

Composed by Harald Weiss. Solo fur Percussion. With Standard notation. Zimmermann #ZM23670. Published by Zimmermann (PR.ZM23670).

UPC: 680160651030.

Percussion solo

SKU: BR.BG-1372

Composed by Harald Weiss. Solo instruments; Folder. Edition Gerig. Music post-1945. Score. Composed 1976. 28 pages. Duration 8'. Breitkopf and Haertel #BG 1372. Published by Breitkopf and Haertel (BR.BG-1372).

ISBN 9790004140376. 9 x 12 inches.

Mixed choir (SSATBarB), children's voice, percussion and organ

SKU: HL.49044346

Fur gemischten Chor (SSATBarB), Kinderstimme, Schlagzeug und Orgel. Composed by Harald Weiss. This edition: Saddle stitching. Sheet music. Edition Schott. Softcover. Composed 2012. 12 pages. Duration 14'. Schott Music #ED21663-20. Published by Schott Music (HL.49044346).

ISBN 9790001194167. German.

Sologuitar, guitar ensemble, string orchestra and percussion - intermediate

SKU: HL.49001871

Composed by Harald Weiss. This edition: Saddle stitching. Sheet music. Concertino (Chamber Orchestra). Classical. Score. Composed 1974. 24 pages. Duration 15'. Schott Music #CON 180. Published by Schott Music (HL.49001871).

ISBN 9790001024594. 9.25x12.0x0.082 inches.

A modern instrumental piece with technically easy playing processes and a distinctive instrumentation. Strings are mostly divided, their number and range can be extended as one likes, the same applies to the guitar ensemble. Alternative instruments are indicated for the two percussionists. An attraction for young guitar and string ensembles.

For 2 Treble Recorders. By Harald Genzmer. Schott. 19 pages. Published by Schott.