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Read the latest MusikSalon!

Posted by Johannes Feigl on 22 March 2016

The latest issue of the MusikSalon is out now!

In an in-depth interview, Georg Friedrich Haas talks about his opera Morgen und Abend. Kasper Holten, Director of Opera at the Royal Opera House, and Michael Boder, who conducted the world première, are also interviewed.

Furthermore, two important works from the UE catalogue will be presented: the violin concertos by Georg Friedrich Haas and Kurt Weill, for which we interviewed the soloists Ernst Kovacic and Benjamin Schmid.

You can watch the trailer here:

American Immersion with Georg Friedrich Haas

Posted by Johannes Feigl on 01 March 2016

Georg Friedrich Haas (c) Substantia Jones

“I had worried that I’d find the darkness oppressive, and that the loss of sight might induce claustrophobia – or, worse, the sense of being taken for a ride by a composer obsessed with control. Instead I found the darkness that settled over the sold-out auditorium to be warm, convivial and conducive to a state of heightened listening in which Mr. Haas’s fragile, searching music took on vivid, sensuous plasticity.”

Corinna da Fonseca-Wollheim has recently reviewed the American Immersion concert series with the Talea Ensemble.

Read the full review on the New York Times

Fiona Maddocks’ best classical music of 2015

Posted by Johannes Feigl on 14 December 2015

Beautiful – Georg Friedrich Haas’ Morgen und Abend and the “Total Immersion: Boulez at 90” programme made it into Fiona Maddocks’ best classical music of 2015 article:

Read the full article

Haas’ Morgen und Abend on Opera on 3

Posted by Johannes Feigl on 04 December 2015

Sarah Wegener (Signe) & Christoph Pohl (Johannes) in Morgen und Abend at the Royal Opera House (c) ROH / Clive Barda

BBC Radio 3 broadcasts a recording of Georg Friedrich Haas’ highly acclaimed opera Morgen und Abend tomorrow at 19:30 CET/CEST. Listen live.

Want to peruse the score while listening to the opera? We’ve uploaded the full conductor’s score for you here:

View the full score

What the critics are saying: Morgen und Abend

Posted by Johannes Feigl on 30 November 2015

Sarah Wegener as Signe/Midwife in rehearsal for Morgen und Abend, The Royal Opera © 2015 ROH. Photograph by Andrej Uspenski

Not much happens, but Georg Friedrich Haas’s new opera is a mesmerising evocation of the great hereafter. (Fiona Maddocks, The Guardian, 22 November 2015)

Although little or no change in dynamic happens throughout, the soundscapes are spectacularly eerie, casting quite a mood in the vast hall and filling the space with atmospheric emotion. It is incredible to see such a huge orchestra employed in such a way, each instrument being used in a more creative and unusual way to create these unfamiliar sounds. (Lydia Lakemoore, A Younger Theatre, 15 November 2015)

Brandauer has called the opera a Gesamtkunstwerk, a fitting description for its unified artistic vision, even if comparisons with Wagner (or any other opera composer) are beside the point. (Gavin Dixon, bachtrack, 14 November 2015)

But if you are susceptible to Haas's musical language it will creep under your skin as it did mine. (Mark Valencia, WhatsOnStage, 14 November 2015)

Read more reviews and view the full score

Interested in the audience’s reactions? Find them here: Your Reaction: Morgen und Abend.

General rehearsal of Morgen und Abend

Posted by Johannes Feigl on 11 November 2015

Sarah Wegener, Christoph Pohl, Helena Rasker, Georg Friedrich Haas and Will Hartmann (c) Universal Edition, Sarah Laila Standke

Sarah Wegener, Christoph Pohl, Helena Rasker, Georg Friedrich Haas and Will Hartmann.

Composer Georg Friedrich Haas surrounded by happy cast after yesterday’s successful general rehearsal of his opera Morgen und Abend at the Royal Opera House in London. Fingers crossed for the world première on Friday.

Read an article on Morgen und Abend in The Independent

Georg Friedrich Haas at the NOW! Prismen festival

Posted by Johannes Feigl on 03 November 2015

NOW! Prismen festival

Georg Friedrich Haas’ concerto grosso No. 2 will see its German première at this year’s NOW! Prismen festival, which opened on 22 October and runs until 8 November. Peter Rundel conducts the Essener Philharmoniker and the Ensemble Musikfabrik at the German première on 5 November and the follow-up-performance on 6 November.

On the day after, Haas’ Sayaka for percussion and accordion will be played by Jaime Moraya and Slavi Grigorov.

The composer will also be present at the NOW! Prismen Symposium, where he’ll be in conversation with Robert Henke, Rozalie Hirs, Mauro Lanza and host Günter Steinke.

Read the festival’s full programme on the website of the Philharmonie Essen

Georg Friedrich Haas on The Guardian

Posted by Johannes Feigl on 02 November 2015

Georg Friedrich Haas (c) Substantia Jones

“I don’t love those high mountains […] they steal the light; they are dangerous and cold.” (Georg Friedrich Haas, The Guardian, 30 October 2015)

Preceding the world première of Georg Friedrich Haas’ newest opera Morgen und Abend, Gavin Plumley interviewed the composer about the opera, his newfound home in New York and Franz Schreker’s Der ferne Klang.

Morgen und Abend premières at the Royal Opera House on 13 November. Michael Boder conducts Graham Vick’s production, which stars world renowned actor Klaus Maria Brandauer, and soprano Sarah Wegener and baritone Christoph Pohl in their Royal Opera debuts.

Read the full article on The Guardian

Nach-Ruf … ent-gleitend … in Seoul

Posted by Johannes Feigl on 13 October 2015

iN FestivalWhereas, in earlier works, the pitch structure was determined by altering the instruments (untuned strings of the bowed instruments in the chamber opera Nacht and in the String Quartet No. 1, retuning the piano in the improvisatory piece Nacht), microtonal intonation is left exclusively up to the players in Nach-Ruf … ent-gleitend … (Georg Friedrich Haas)

ensemble iiiiiiiii will be performing Georg Friedrich Haas’ Nach-Ruf … ent-gleitend … on 15 October at the iN festival in Seoul.

More information about the festival is available on the website of the ensemble iiiiiiiii.

Haas: “Don’t expect melodies …”

Posted by Johannes Feigl on 21 August 2015

“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.”

Georg Friedrich Haas talks about his upcoming opera Morgen und Abend (Morning and Evening), which will première at the Royal Opera House on 13 November.

Michael Boder conducts Graham Vick production, which stars world renowned actor Klaus Maria Brandauer.

Musik 21 Festival: “Klang-Körper”

Posted by Johannes Feigl on 10 July 2015

Musik 21

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.

ATTHIS at the ROH: ★★★★☆

Posted by Johannes Feigl on 29 April 2015

ATTHIS (c) Bill Cooper, Royal Opera House

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:

“Darkness and light are instruments” in ATTHIS

Posted by Johannes Feigl on 24 April 2015

Georg Friedrich Haas (c) Substantia Jones

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)

Find an interview with Netia Jones, director of the Royal Opera House’s current staging of ATTHIS, on the website of the ROH.

View the full study score

Haas’ concerto grosso No. 1 for 4 alphorns in Zurich

Posted by Johannes Feigl on 22 April 2015

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:

Spanish première of in vain

Posted by Johannes Feigl on 13 April 2015

in vain, Zahir Ensemble

Simon Rattle called it “one of the first great masterpieces of the 21st century” and we cannot recommend it highly enough:

in vain by Georg Friedrich Haas will be performed for the very first time in Spain on 15 April at the Teatro Central in Sevilla. Juan García Rodríguez conducts the Zahir Ensemble.

Simon Rattle on in vain