The 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.
“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
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.
Today 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:
The 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
“July 1, 2013 marks Georg Friedrich Haas’s first day as a resident of the United States, where he will join the composition faculty at Columbia University. This move puts him squarely in the historical tradition of European composers such as Gustav Mahler, Arnold Schoenberg, and Igor Stravinsky, all of whom moved to the United States and became part of the musical life of America.”
Friedrich Haas: Atthis
for soprano and 8 instruments | 40’
Sharon Harms, s; Argento Chamber Ensemble, cond. Michel Galante
Pi-hsien Chen, Christoph Grund, Florian Hoelscher, Akiko Okabe, Sven Thomas kiebler, Julia Vogelsänger, pno; SWR-Sinfonieorchester Baden-Baden und Freiburg, cond. Silvain Cambreling
3 Hommages: “Hommage à Ligeti”
Marino Formenti, pno
… wie stille brannte das Licht
Sarah Wegener, s; Cornelis Witthoefft, pno
… wie stille brannte das Licht
Sarah Wegener, ms; Musikfabrik, cond. Roland Kluttig
String Quartet No. 2
Wer, wenn ich schriee, hörte mich
Lukas Schiske, perc; Klangforum Wien, cond. Silvain Cambreling
Schola Heidelberg, cond. Walter Nußbaum
for baritone saxophone and orchestra
Marcus Weiss, sax; WDR-Sinfonieorchester Köln, cond. Emilio Pomárico
Klangforum Wien, cond. Silvain Cambreling
Tonight Georg Friedrich Haas’ in vain will be performed as a part of a composer’s portrait dedicated to Haas at the Schwetzinger SWR Festspiele. Jonathan Stockhammer conducts the Radio-Sinfonieorchester Stuttgart.
You can watch an interview with Sir Simon Rattle, in which the conductor identifies in vain as “one of the only already acknowledged masterpieces of the 21st century”, here:
The concert will be broadcast by SWR 2 on 16 June 2013, listen live.
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
23/5/2013, Schwetzingen; Radio-Sinfonieorchester Stuttgart, cond. Jonathan Stockhammer
The Schola Heidelberg and Walter Nußbaum present a composer portrait of Georg Friedrich Haas at the Schwetzinger SWR Festspiele on 9 May 2013. Among the pieces played will be the Hertervig-Studien and SCHWEIGEN.
Later that day, the Kairos Quartett will perform Haas’ String Quartet no.3, “In iij. Noct.” – in complete darkness, with the four musicians playing from memory in different parts of the room. “Darkness, [...] is not present in this piece merely as an absence of light, but becomes the key theme of the work” (Georg Friedrich Haas)
Schwetzinger SWR Festspiele 2013
Recorded on 9 May 2013
ATTHIS; de terra fine; SCHWEIGEN; Hertervig-Studien
Sarah Wegener, s; Tianwa Yang, vln
Kairos Quartett; Members of the Radio-Sinfonieorchester Stuttgart of the SWR; Schola Heidelberg, cond. Walter Nussbaum
SWR2 | Listen live
Saturday, 18/5/2013, 20:03
Tomorrow, 28 February 2013, the world première of Georg Friedrich Haas’ … wie stille brannte das Licht for soprano and piano takes place at the Philharmonie Luxembourg. The concert starts at 20:04 and you can listen to a live transmission of it here.
If you are not in Boston tonight, listen live on BBC Radio 3 (7:30pm London time) to the BBC Philharmonic Orchestra performing Friedrich Cerha’s Wiener Kaleidoskop – a romp around Vienna’s musical traditions (audio sample on this page).
For those looking for something else for a Friday evening, there’s Rihm in Saarbrücken (COLL’ARCO), Weill in Graz (Threepenny Opera), Janacek in Munich (Glagolitic Mass) and Reims (Jenufa), Schreker in Cologne (Chamber Symphony), Borisova-Ollas in Gothenburg (The Kingdom of Silence), Mahler in Bangkok (Symphony No. 9), Birtwistle in London (Linoi), Zemlinsky in Valencia (Lyric Symphony), Kodály in Arnhem (Dances of Galanta), Oldfield in Neuenkirchen (Tubular Bells), Bartók in Athens (Miraculous Mandarin), Berio in Düsseldorf (Rendering) …
The US premiere of Georg Friedrich Haas’ chants oubliés for chamber orchestra takes place tonight in Los Angeles.
Otto Tausk conducts the LA Phil New Music Group at the Walt Disney Concert Hall.
The title refers to late works by Franz Liszt (Valses oubliés, Romance oubliée) – Liszt’s technique of presenting one-part melodies in a different sound environment (often that of the piano) is applied here to the possibilities of the chamber orchestra.