“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.
Georg Friedrich Haas’ 70 minute work for 24 instruments, in vain, is one of the most celebrated works in the composer’s catalogue.
It has been a highly praised in the New York Times (Vivienne Schweitzer wrote of “waves of opulently strange, beautiful sounds”); it was the central part of an 8-hour ‘symposium’ concert by Klangforum Wien; and has already been performed 31 times since its world première in 2000.
Now, in a kind of pan-Alpine derby, the work is being performed twice in the same evening at two different major festivals (Saturday 13 Aug).
Listen to an excerpt of in vain on this page.
The Lucerne concert is part of a special focus on Haas this year, as part of which his opera Nacht (night is the central theme of the festival this year) can be heard (17 Sept) as well as his string quartets, including the world première of the String Quartet No 7 by the Arditti Quartet (10 Sept), and various ensemble works.
See all forthcoming performances of works by Georg Friedrich Haas in our online calendar.
Our week of world premières continues, following yesterday’s new work by Vykintas Baltakas.
On Saturday, Georg Friedrich Haas’ new work for chamber orchestra, chants oubliés, is part of a portrait concert given by the Munich Chamber Orchestra, which is joined by Teodoro Anzelotti and Kelvin Hawthorne.
The work is performed in complete darkness, preferably with all doors and even the emergency lighting covered up. It is at first a very disconcerting thing, simply because we very rarely experience total darkness.
What might seem like a gimmick though has a dramatic effect on the musician’s performance – playing as they are required to do from memory and communicating purely through the music itself – as well as on our perception of the music.