Georg Friedrich Haas: Morgen und Abend

Georg Friedrich Haas Morgen und Abend
Morgen und Abend

Georg Friedrich Haas: Morgen und Abend

Year of composition:
2014/2015
Scored for:
for soli, choir and orchestra
Composer:
Georg Friedrich Haas
Translator:
Hinrich Schmidt-Henkel
Librettist:
Jon Fosse
Writer of pre-existing text:
Jon Fosse
Choir:
SATB
Instrumentation:
3 3 3 3 - 4 2 2 1 - str, timp, perc(2), acc
Instrumentation details:
1st flute (+1stpicc)
2nd flute (+2ndpicc)
3rd flute (+3rdpicc)
1st oboe
2nd oboe
cor anglais (+3rdob)
1st clarinet in Bb
2nd clarinet in Bb
bass clarinet in Bb (+cl(Eb))
1st bassoon
2nd bassoon
contrabassoon
1st horn in F
2nd horn in F
3rd horn in F
4th horn in F
1st trumpet in C
2nd trumpet in C
1st trombone
2nd trombone
tuba
timpani
1st percussion
2nd percussion
accordion
violin I (12 players)
violin II (10 players)
viola (8 players)
violoncello (8 players)
contrabass (6 players)
Commission:
Composition commission by the Royal Opera House, and Deutsche Oper Berlin with the support of the Ernst von Siemens Music Foundation
Duration:
90’
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The complete perusal score (PDF-preview)

Work introduction

Georg Friedrich Haas in an interview on his opera Morgen und Abend.


Jon Fosse tells the story of Johannes the fisherman, a simple man in the autumn of his years. He recalls his past life, the two people who meant most to him – his wife and his friend Peter, who have both long since passed away. Johannes’ yearning will come to an end on this day. When his daughter comes to check on him the following morning, she finds him dead.

Special prints

Morgen und Abend

Georg Friedrich Haas: Morgen und Abend

piano reduction
for soli, choir and orchestra , 90’
Instr.: 3 3 3 3 - 4 2 2 1 - str, timp, perc(2), acc

Morgen und Abend

Georg Friedrich Haas: Morgen und Abend

study score
for soli, choir and orchestra , 90’
Instr.: 3 3 3 3 - 4 2 2 1 - str, timp, perc(2), acc

World première

Location:
London
Date:
13.11.2015
Orchestra:
Royal Opera House Orchestra
Conductor:
Michael Boder

Press reviews

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)

[...] so conceptually unique and so unusual that its originality will confound many. (Anne Ozorio, Opera Today, 14 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)

The cumulative effect of words, music and our own thoughts, however, is extremely powerful and, although it is possible that some people may be left feeling cold by this opera, we were thoroughly engaged and moved to a remarkable degree. (Sam Smith, musicOHM, 15 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)

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