“Don’t expect melodies, don’t expect harmonies: just expect soundscapes. I try to create a musical language which is not based on notated structures but only based on the perception of the sound.”
Michael Boder conducts Graham Vick production, which stars world renowned actor Klaus Maria Brandauer.
The Musik 21 Festival “Klang-Körper” kicks off today and will go on until Sunday!
Prominent guests of the festival will be pianists Tamara Stefanovich and Pierre-Laurent Aimard, who will be performing a selection of Pierre Boulez’ piano pieces, including Structures, Deuxième Livre for 2 pianos.
Furthermore, the Kairos Quartett will be performing Georg Friedrich Haas String Quartet No. 3 „In iij. Noct.” – a piece in which darkness is not present merely as an absence of light, but becomes the key theme of the work – on Saturday.
Find out more on Musik 21’s website.
Violinists Alexandra Wood and Joan Atherton join with violist Paul Silverthorne and cellist Sally Pendlebury to articulate the rich inner life of a score that whets the appetite for more. (George Hall, The Guardian, 24 April 2015)
Haas and Jones’s collaboration is a beautiful one, tender with humanity while chafing hard at the emotions. (Alexandra Coghlan, The Arts Desk, 24 April 2015)
His focus on using music as a means of depicting raw human emotion produces a sonorous, yet beautiful effect, making this experience a wholly poignant and evocative one. (Isabella Farrell, A Younger Theatre, 27 April 2015)
Find several reviews of Georg Friedrich Haas’ ATTHIS and his String Quartet No. 2 at the Royal Opera House by clicking the respective links.
Listen to a short interview with Georg Friedrich Haas on his music, the impulse to write music as a politically conscious person, and more:
Haas uses light and darkness as instrumental tools, and this is very exciting when using projection as an extension of the listening experience. My presentation of the Second Quartet and ATTHIS is designed to be immersive: darkness and light are instruments; and poetry, visual imagery, movement and music come together inseparably to reflect Haas’s extraordinary musical world. (Netia Jones)
View a short introductory video to Georg Friedrich Haas’ concerto grosso No. 1, which will have its Swiss première tonight at the Tonhalle in Zurich. Kent Nagano conducts the Tonhalle Orchester and the HORNROH Modern Alphorn Quartet.
Further performances will take place on 23 and 24 April.
The [German] video was produced in March 2014 by the Bayerische Rundfunk when the concerto was premièred under Susanna Mälkki at the Herkulessaal in Munich:
Simon Rattle called it “one of the first great masterpieces of the 21st century” and we cannot recommend it highly enough:
When interviewed about the concerto grosso No. 1, Haas described the alphorns as “the source of another dimension of intonation (overtone chords), used to create contrast and to expand the traditional twelvetone tuning of the symphony orchestra.” Kent Nagano conducts the hornroh modern alphornquartet and the Tonhalle-Orchester Zürich.
Further performances of the piece take place on 23 and 24 April. The concert on 23 April will be broadcast live by SRF II at 20:00. Listen live.
Georg Friedrich Haas’ “Ich suchte, aber ich fand ihn nicht.” for ensemble will have its UK première this Saturday at the Queen Elizabeth Hall in London. Thierry Fischer conducts the London Sinfonietta.
A pre-concert talk by professor Jonathan Cross explores the use of texture, timbre, microtones and overtones as compositional techniques in the 20th and 21st centuries.
The London Sinfonietta has published a trailer for this second part of a two part series:
Tonight the Canadian première of Georg Friedrich Haas’ Open Spaces II | in memory of James Tenney will be performed together with other works by Zosha Di Castri, Matthew Patton and Christopher Rouse at the Winnipeg New Music Festival. Alexander Mickelthwate conducts the Winnipeg Symphony Orchestra.
The concert will be followed by a Q&A session with composers Georg Friedrich Haas, John Luther Adams and Matthew Patton.
“If quartets are usually a conversation, drunken banter appeared to dominate the opening. But gradually, slowly, moments of captivating clarity began to appear, the blurred and often abrasive surface gave way to the cold, beautiful regions beneath.” (Guy Dammann, The Guardian, 21.01.2015)
Find the full review on The Guardian.
limited approximations does not tell a story. As with all my compositions, there is also no formal development or traditional formal structure. Contrasting elements alternate with one another – moments of smoothness and friction. “Pseudo-glissandi” in the pianos arrive unexpectedly at overtone chords. Apparently stable constellations of intervals begin to falter as the twelfth-tones merge. (Georg Friedrich Haas)
These are the Wiener Konzerthaus’ stage directions for Georg Friedrich Haas’ limited approximations, which will be performed for the first time in Austria this Sunday at Wien Modern by the SWR Sinfonieorchester Baden-Baden und Freiburg (cond. François-Xavier Roth) and pianists Klaus Steffes-Holländer, Matan Porat, Florian Hoelscher, Julia Vogelsänger, Akiko Okabe and Christoph Grund.
A discussion between Wolfgang Schaufler and the composer will precede the performance.
Read the full work introduction by the composer, listen to an excerpt and view the study score here.
Georg Friedrich Haas: limited approximations
for 6 micro-tonally tuned pianos and orchestra | 30'
national prem. 02.11.2014, Konzerthaus, Vienna; Klaus Steffes-Holländer, Matan Porat, Florian Hoelscher, Julia Vogelsänger, Akiko Okabe, Christoph Grund, pno; SWR Sinfonieorchester Baden-Baden und Freiburg, cond. François-Xavier Roth
Only one more day until the opening concert of Wien Modern 2014 featuring Georg Friedrich Haas’ concerto grosso No. 2 takes place. Cornelius Meister will conduct the ORF Vienna Radio Symphony Orchestra and the Klangforum Wien at the Konzerthaus Vienna.
As Wien Modern puts it, “the opening concert will mark the start of a musical journey that will, through the course of the entire festival, take audiences to new sound experiments and beyond” – we are thrilled!
View the full study score of the concerto grosso No. 2.
You’ll find out more about Wien Modern 2014 focal point composer Georg Friedrich Haas in our upcoming newsletter, which is currently in the making – stay tuned.