Feedback
Universal Edition - Blog

BBC Radio 3 broadcast of in vain

Posted by Johannes Feigl on 17 Januar 2014

Georg Friedrich Haas, Tom Service (c) Universal Edition, Sarah Laila StandkeTomorrow, 18 January, BBC Radio 3’s Hear and Now will broadcast a recording of the London première of Georg Friedrich Haas’ in vain.

The concert was performed by the London Sinfonietta under Emilio Pomàrico on 6 December 2013 at the Southbank Centre’s The Rest is Noise Festival.

Furthermore, Tom Service will present an interview with the composer.

The show will be online until 26 January, listen on BBC Radio 3.

Tom Service interviews Haas, broadcast of in vain

Posted by Johannes Feigl on 11 Dezember 2013

Georg Friedrich Haas, Tom Service (c) Universal Edition, Sarah Laila Standke
Tom Service
has interviewed Georg Friedrich Haas before the London Sinfonietta’s sold out performance of in vain (conductor: Emilio Pomàrico) on 6 December at the Queen Elizabeth Hall in London.

The interview and the recording of in vain will be broadcast on BBC Radio 3’s contemporary music programme Hear and Now on 18 January.

in vain in London

Posted by Johannes Feigl on 06 Dezember 2013

Rehearsals in vainThe rehearsals for Georg Friedrich Haas’ in vain are going well, the London première of the work for 24 instruments will take place today at the Queen Elizabeth Hall and will be preceded by a conversation with the composer.

Emilio Pomàrico conducts the London Sinfonietta.

Georg Friedrich Haas: in vain
for 24 instruments | 70'
2 1 2 1 - 2 0 2 0 - perc(2), hp, acc, pno, sax, vln(3), vla(2), vc(2), cb
06.12.2013, Queen Elizabeth Hall, London; London Sinfonietta, cond. Emilio Pomàrico

Workshop with Georg Friedrich Haas

Posted by Johannes Feigl on 05 Dezember 2013

Georg Friedrich Haas, Galerie Ruzicska (c) Universal Edition, Wolfgang Schaufler
The Royal College of Music hosts a workshop with Georg Friedrich Haas today at the RCM, where the composer will talk about his recent works.

The event starts at 2:30pm GMT and is free, but tickets are required and can be booked here. Haas’ String Quartet No. 2 will be performed at the venue by students of the RCM.

Find out more on the homepage of the Austrian Cultural Forum London.

Georg Friedrich Haas: String Quartet No. 2
for string quartet | 18'
05.12.2013, Royal College of Music, London; RCM students

Georg Friedrich Haas in Salzburg

Posted by Johannes Feigl on 28 November 2013

Georg Friedrich Haas, Galerie Ruzicska (c) Universal Edition, Wolfgang Schaufler
Georg Friedrich Haas
at tGeorg Friedrich Haas, Mozarteum (c) Universal Edition, Wolfgang Schaufler he Galerie Nikolaus Ruzicska in front of an installation by Maurizio Nannucci, and at the Mozarteum Salzburg, where Wohin bist du gegangen? was premièred yesterday, 27.11.2013, by the Klangforum Wien and the Salzburger Bachchor under Clement Power.

World première of Wohin bist du gegangen? in Salzburg

Posted by Johannes Feigl on 27 November 2013

Dialoge LichtGeorg Friedrich Haas’ Wohin bist du gegangen? for choir and 17 instruments will be premièred today, 27 November, at this year’s Dialogues festival (27 November to 1 December) of the Salzburg Mozarteum Foundation in the concert session “Central Park in the Dark”.

Wohin bist du gegangen? is based on texts by the Persian poet Attar of Nishapur (ca.1136–ca.1220) in a free translation by the composer. The male and female voices are separated by the ensemble (with the men on one side and the women on the other). At the beginning of the work, the situation is akin to a traditional performance, but within only a few seconds the light is dimmed until the concert hall is in total darkness.

View the full programme of Dialogues Light.

Wohin bist du gegangen?
for choir and 17 instruments | 12'
1 1 1 1 - 1 1 1 1 - perc(2), acc, pno, vln, vln, vla, vc, cb
world prem. 27.11.2013, Mozarteum; Salzburger Bachchor; Klangforum Wien, cond. Clement Power

Georg Friedrich Haas at the btzm

Posted by Johannes Feigl on 18 November 2013

ensemble recherche (c) M. KorbelFive works by Georg Friedrich Haas will be performed at the Bludenzer Tage zeitgemäßer Musik [Bludenz contemporary music days], four of which will be performed by the ensemble recherche. The festival runs from 20 to 23 November.

Georg Friedrich Haas on his various versions of „... aus freier Lust ... verbunden ...”:

Each of the work’s ten individual parts is simultaneously a solo piece; to state it differently, the ensemble piece is an interlacing of ten completely independent, autonomous solos. […] As regards pitch, the parts are bound together by an identical harmonic structure, although it is to be noted that in the solo parts “harmony” is thought of primarily as the effect of successive sound events. As for form, caesuras and units are formed in each individual part, not only independently of other instruments, but also simultaneously with them (as a sort of “solidarity”).

The full programme of the festival in Vorarlberg is available here.

Nach-Ruf ... ent-gleitend ...
for flute, oboe, clarinet, violin, viola, violoncello | 16'
„... aus freier Lust ... verbunden ...”
for bass clarinet in Bb | 11'
„... aus freier Lust ... verbunden ...”
for viola | 11'
tria ex uno
for flute, clarinet, percussion, piano, violin and violoncello | 12'
20.11.2013, Remise, Bludenz; ensemble recherche

de terrae fine
for violin solo | 17'
22.11.2013, Remise, Bludenz ; soloist of the Formalist Quartet

Universal Edition Newsletter November 2013

Posted by Johannes Feigl on 14 November 2013

Newsletter Universal Edition November 2013
The latest Universal Edition newsletter, with information on world premières by David Fennessy, Wolfgang Rihm, Georg Friedrich Haas, and Alban Berg, is avaialble here.

Subscribe to our Newsletter.

Georg Friedrich Haas: Greatest Hits in Hamburg

Posted by Johannes Feigl on 14 November 2013

Greatest Hits Hamburg
Georg Friedrich Haas is this year’s composer in residence at the Greatest Hits Festival (14 to 17 November) in Hamburg, a festival for contemporary music created by Laeiszhalle Elbphilharmonie Hamburg and Kampnagel. On the programme will be Haas’ third string quartet, “In iij. Noct.”, and limited approximations for 6 micro-tonally tuned pianos and orchestra, as well as works by Kagel, Reich, Cage, Zender and many more.

Find the full programme here.

View the study score of limited approximations.

Georg Friedrich Haas on limited approximations:

Georg Friedrich Haas: limited approximations, scoreThe twelfth-tone interval is so small that it is no longer heard as an interval, but rather as the shading of a single note. A single tone played by a romantic orchestra has a wider frequency.  The aural effect of a scale in twelfth-tone intervals is thus similar to a glissando. The effect of a cluster of twelfth-tones depends on the register: higher up, it is sharp, abrasive, biting, lower down it is soft, melting, rich. Of course it is also possible to build raw, dissonant chords with twelve-tone intervals – much more differentiated (also in the degree of acuteness) than with the traditional 12 tones per octave. But it is also possible to build much more “consonant” chords then in the traditional twelve-note scale: a close approximation of the twelve-tone scale can be produced in the overtone scale, accurate up to a twelfth of a tone.

Read the full text.

Georg Friedrich Haas: “In iij. Noct.” | String Quartet no. 3
for string quartet | 50'
15.11.2013, Kampnagel, Hamburg; Jack Quartett

Georg Friedrich Haas: limited approximations
for 6 micro-tonally tuned pianos and orchestra | 30'
4 1 4 1 - 6 1 4 0 - pno(6), vln.I(10), vln.II(10), vla(6), vc(6), cb(8)
17.11.2013, Kampnagel, Hamburg; Klaus Steffes-Holländer, Pi-Hsien Chen, Florian Hoelscher, Julia Vogelsänger, Akiko Okabe, Christoph Grund, pno; SWR-SO Baden-Baden und Freiburg, cond. François-Xavier Roth

Music Forum Hradec Králové

Posted by Johannes Feigl on 31 Oktober 2013

Music Forum Hradec KrálovéThe Music Forum Hradec Králové starts today, 31 October, and will run until 12 November (the festival consists of four big concerts, on 31 October, 4, 7, and 12 November). The festival’s goal is to create no less than a representative panorama of works from the second half of the 20th century and early 21st century.

Among the pieces performed will be the Czech première of Georg Friedrich Haas’ in vain (Orchestr Berg, cond. Peter Vrábel).

Find the full programme of the festival on the Music Forum Hradec Králové’s homepage.

Georg Friedrich Haas: in vain
for 24 instruments | 70'
2 1 2 1 - 2 0 2 0 - perc(2), hp, acc, pno, sax, vln(3), vla(2), vc(2), cb
prem. 04.11.2013, Hradec Králové; Orchestr Berg, cond. Peter Vrábel

Uk première of in vain

Posted by Johannes Feigl on 24 Oktober 2013

Georg Friedrich Haas (c) Lucerne Festival, Priska KettererPhilip Cashian, composer and Head of Composition at the Royal Academy of Music, writes about Georg Friedrich Haas’ in vain on the London Sinfonietta’s blog. André de Ridder and the London Sinfonietta will perform the UK première of in vain on 16 November at the Huddersfield Contemporary Music Festival.

“it often seemed that supernatural forces were at work […] it was often hard to believe that these otherworldly sounds were coming from acoustic, not electronic, instruments […] a masterpiece.” (The New York Times)

Haas at the Miller Theatre

Posted by Johannes Feigl on 09 Oktober 2013

Ensemble Signal (c) Ensemble SignalThe composer portraits season of the Miller Theatre at the Columbia University School of the Arts opens with a portrait of Georg Friedrich Haas, newly appointed Columbia University faculty member. On the programme: Haas’ de terrae fine, ATTHIS and tria ex uno.

Broadway World cites Melissa Smey of the Miller Theatre:

“I am so excited to open our 2013-14 season of Composer Portraits with the music of Georg Friedrich Haas. Haas's compositions are emotional and moving, and could be in no better care than in the hands of the talented musicians of Ensemble Signal. I am doubly thrilled to present this program to kick off Composer Portraits in our 25th Anniversary Season and to celebrate Haas's new appointment to the music faculty here at Columbia University. This concert exemplifies our mission to both expand public knowledge of contemporary music and share the incredible artistic riches of Columbia University with the wider world.”

Georg Friedrich Haas: de terrae fine
for violin solo | 17’
Olivia De Prato, vln
Georg Friedrich Haas: ATTHIS
for soprano and 8 instruments | 40’
Rachel Calloway, ms; Ensemble Signal, cond. Bradley Lubman
Georg Friedrich Haas: tria ex uno
for flute, clarinet, percussion, piano, violin and violoncello | 12’
Ensemble Signal, cond. Bradley Lubman
10.10.2013, Miller Theatre, New York

Georg Friedrich Haas: Irish and French premières today, 20 September

Posted by Johannes Feigl on 20 September 2013

Just two quick reminders for everybody who is either in Dundalk or in Strasbourg today: “In iij. Noct., Georg Friedrich Haas’ third string quartet, will be performed for the first time in Ireland by the EQ Ensemble today at the St Nicholas Church in Dundalk in complete darkness. The Louth Contemporary Music Society presents the event.

Festival MusicaThe French première of Haas’ limited approximations for 6 micro-tonally tuned pianos and orchestra takes place today in Strasbourg at the Festival Musica. More about the 30th Festival Musica.

Haas’ AUS.WEG at the Warsaw Autumn

Posted by Johannes Feigl on 20 September 2013

AutumnToday Georg Friedrich Haas’ AUS.WEG will be performed for the first time in Poland. The Polish première of the work for 8 instruments takes place on the first day of the Warsaw Autumn, an international festival of contemporary music that runs from 20 to 28 September.

The composer about the piece:

Ensemble Phoenix Basel (c) Ensemble Phoenix BaselThe title leaves the meaning of the second word open to interpretation: “Weg” meaning “path/way” or “weg” meaning “gone/go”. This ambiguity is, of course, intentional. It could mean “way out”, “stop it, go away” or any of several other meanings.

For this piece, I drew upon former compositional techniques: I reused a two-dimensional table of chords, which was the basis for some passages in the opera Die schöne Wunde. This gives me the freedom to decide whether I want to move “horizontally” or “vertically”. The time is also strictly determined. It is based on a series of continuants, which is not heard in its original form until the end of the piece. These continuants appear earlier in the piece in longer and shorter versions, and are the basis for the time structure (rhythm and form) of the piece.

Find the full work introduction here.

Georg Friedrich Haas: AUS.WEG
for 8 instruments | 19'
national prem. 20.09.2013, Warsaw Philharmonic, Warsaw; Ensemble Phoenix Basel

Happy 60th Birthday Georg Friedrich Haas!

Posted by Johannes Feigl on 16 August 2013

Georg Friedrich Haas (c) Lucerne Festival, Priska KettererLearn more about the composer and view his list of works.