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.
The US première of Georg Friedrich Haas’ dark dreams takes place tonight, 6 October, at Carnegie Hall in New York with Simon Rattle conducting the Berlin Philharmonic.
Watch an excerpt of dark dreams:
On Saturday at 22:30 CET/CEST, Robert Worby presents a focus on Georg Friedrich Haas, with performances recorded earlier this year. On the programme: Introduktion und Transsonation (Klangforum Wien, cond. Ilan Volkov), the Concerto for baritone saxophone and orchestra (Marcus Weiss, sax; BBC Scottish Symphony Orchestra, cond. Ilan Volkov) and the String Quartet No.2 (Arditti Quartet).
Listen to Hear and Now on BBC Radio 3.
Jill Richards, South African concert pianist and an acclaimed performer of new piano music, will perform Georg Friedrich Haas’ Ein Schattenspiel on 11 September at this year’s Unyazi Festival, which is part of the Fak’ugesi Digital Africa festival, in Johannesburg.
The concert pianist writes about her experiences with Ein Schattenspiel on her (highly recommended) blog:
But of course the interesting thing about Ein Schattenspiel is the real time sound processing. What I play is picked up, delayed, pitch shifted upwards by 50 cents and then played back. I am playing with myself, and need to read the “other” piano part so as to play in time with it. This is pretty interesting sometimes as I have perfect pitch and the pitch shifts play gentle havoc with my eyes and ears…what I read is not exactly what I hear!
Also the time delay becomes shorter and shorter, so it starts to feel like a real game of catch up – if I play too slowly, I will be overtaken by my “other” self.
Read the full text on Jill Richards’ blog.
An introduction to Ein Schattenspiel by Therese Muxeneder is available on the festival’s website.