Sarah Wegener and the Ensemble musikFabrik will perform Georg Friedrich Haas’ ATTHIS for soprano and 8 instruments on 23 August at the WDR Funkhaus in Cologne. The work recently received rave reviews for Opera Cabal’s “mesmerizing production” (NY Times) at the Kitchen in New York.
View the full score of ATTHIS on Universal Edition.
View Ensemble musikFabrik’s short documentary on Haas’ “Ich suchte, aber ich fand ihn nicht.”, who premièred the piece in 2011:
“What a wonderful afternoon. Hearing my second concert of Steve Reich, and then being able to tell him how he showed me how new music happens where it is never expected.” (Georg Friedrich Haas with Steve Reich, Brad Lubman and Joshua Fineberg)
Tune in at the following times to listen to portraits on:
Friedrich Cerha: 5. July, 18:00
Beat Furrer: 8. July, 19:00
Georg Friedrich Haas: 11. July, 19:00
View the full programme on micatonal.
Congratulations to soprano Ariadne Greif, Opera Cabal, ACME, conductor Peyman Farzinpour and director Habib Azar for their successful North American stage première of ATTHIS by Georg Friedrich Haas – The New York Times describes it as a “mesmerizing production [...] revealing art, bursting at the seams of control” (Corinna da Fonseca-Wollheim, The New York Times, 13.06.2014)
Read the full article on The New York Times.
The Chicago-based Opera Cabal partners with the American Contemporary Music Ensemble (cond. Peyman Farzinpour) to present the first North American stage premiere of Georg Friedrich Haas’ monodrama ATTHIS, with lyrics by the ancient Greek poet Sappho.
Emmy Award-winning stage director Habib Azar directs the production, which premières on 12 June.
View the full score.
Albrecht Dümling on ATTHIS:
Georg Friedrich Haas begins his composition (named after a young girl who was Sappho’s pupil) with consonant sounds, as the voice emerges almost imperceptibly from the swelling major third in several string octaves. In slow motion, as it were, the singer recites the Greek words mete moi meli, mete melissa [“no honey for me, no bees”] on a single pitch – a lover’s lament, sung while the major third first turns gradually into a minor third, then a tritone and finally a seventh.
Then the German words untergegangen ist der Mond [“the moon is sunken”] follow, first as if spoken and then sung in cantabile melisma. The score calls for three types of singing: rough, in the lowest register, almost spoken, then cantabile,espressivo and melodious and, thirdly, as glissando, whereby the three types of singing must be clearly differentiated: “The effect should be like that of changing instruments, or imitating a vocal trio.”
Georg Friedrich Haas: ATTHIS
for soprano and 8 instruments | 40'
staged prem. 12. and 13.06.2014, The Kitchen, New York; Ariadne Greif, s; ACME, cond. Peyman Farzinpour
During preparations for their 25th anniversary in 2010, the ensemble recherche came to the conclusion that “There are no love songs anymore!”. So they request such pieces for the celebration from various composer friends; more than 30 love songs were written in the process and more are in progress: one could almost speak of a new “trend”. (Kornelia Bittmann)
WERGO has recently released a two-and-a-half-hour double-CD set that features 30 love songs that are dedicated to the ensemble recherche – an ensemble that, since its founding in 1985, has premièred more than 500 works and released about 50 CDs, many of which have been awarded international prizes including the annual German Critics’ Award and the Diapason d’Or.
Their latest CD, which features works by Georg Friedrich Haas, Johannes Maria Staud and Hans Zender, has been highly praised by critics and public alike (“ensemble recherche’s amorous collection reclaims the love song from the embrace of pop music”, Andrew Clements for The Guardian) and already makes us hope for a follow-up CD.
The Financial Times has reviewed the world première of Georg Friedrich Haas’ concerto grosso No. 2 and the première of his Concerto for baritone saxophone and orchestra at the Tectonics festival – and they certainly don’t hold back on the praise: “To have one out-and-out success in the unpredictable world of new music is an achievement. To have two by the same composer in the same evening is a coup.”
Read the full review on the Financial Times.
Georg Friedrich Haas’ concerto grosso No. 1 was premièred last Friday at the Herkulessaal in Munich. Susanna Mälkki conducted the hornroh modern alphornquartet and the Symphonieorchester des Bayerischen Rundfunks.
Here are a few glimpses from the rehearsal and a picture of the conductor and the composer after the concert.
The world première of Georg Friedrich Haas’ concerto grosso No. 1 for four alphorns and orchestra will take place on 28 March at the Herkulessaal in Munich. Here, the composer sees 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.” Susanna Mälkki conducts the hornroh modern alphornquartet and the Symphonieorchester des Bayerischen Rundfunks.
On 8 April BR-Klassik broadcasts a recording of the world première at 20:03. Listen live.
View the full score of the concerto grosso No. 1.
Georg Friedrich Haas: concerto grosso No. 1
for four alphorns and orchestra | 30'
world prem. 28.03.2014, Herkulessaal, Munich; hornroh modern alphornquartet; Symphonieorchester des Bayerischen Rundfunks, cond. Susanna Mälkki
Here is the Irish Times’ take on last week’s New Music Dublin Festival, which took place at the National Concert Hall. The festival was attended by Harrison Birtwistle, who was on stage for a pre-performance discussion and gave a public interview.
Read the full article on the Irish Times.
Another review of the festival ist available on Golden Plec: “The [Arditti Quartet’s] performances are beyond belief, with a scintillating sound and commitment to the music” - congratulations!
The world première will be followed by national premières in Belgium, Luxembourg and Austria in March; the United States première will take place on 6 October at Carnegie Hall.
The composer on dark dreams:
“The high level of both orchestra and conductor, and Simon Rattle’s high opinion of in vain, initially rather paralyzed than encouraged me. […] I didn’t intend to have a contrabassoon solo – but it soon became clear that it had to be there. There was this incredible performer [Sophie Dartigalongue], so that the possibility for the solo was created.”
View the full study score of dark dreams:
Georg Friedrich Haas: dark dreams
for orchestra | 23'
national premières: 03.03.2014, Laeiszhalle, Hamburg; 04.03.2014, Palais des Beaux-Arts, Brussels; 05.03.2014, Philharmonie, Luxembourg; 06.03.2014, Philharmonie, Köln; 07.03.2014, Musikverein, Vienna; 06.10.2014, Carnegie Hall, New York; Berliner Philharmoniker, cond. Simon Rattle
dark dreams was premièred on 20 February 2014, a video recording of a full performance of the piece is currently in processing and will soon be available at the Berlin Philharmonic’s Digital Concert Hall.
Sasha Waltz & Guests’ choreography Métamorphoses will be performed at the Teatro Comunale Ferrara on 21 February. Among the pieces performed during Métamorphoses will be Georg Friedrich Haas’ String Quartet No. 2 and Open Spaces for 12 string instruments and 2 percussionists; Titus Engel conducts the Mahler Chamber Orchestra.
Find out more at sasha waltz & guests.