Georg Friedrich Haas: Introduktion und Transsonation

  • Music for 17 instruments with audio material from recorded sound experiments by Giacinto Scelsi (2012)
  • for 17 instruments and tape
  • 1 0 2 0 - 2 1 2 0, t.sax(Bb), vln(2), vla(2), vc(2), cb(2)
  • Duration: 17’30”
  • Instrumentation details:
    alto flute (+fl)
    clarinet in Bb
    bass clarinet in Bb (+cl(Eb))
    tenor saxophone in Bb (+sop.sax(Bb))
    1st horn in F
    2nd horn in F
    trumpet in C
    1st trombone
    2nd trombone
    1st violin
    2nd violin
    1st viola
    2nd viola
    1st violoncello
    2nd violoncello
    1st double bass
    2nd double bass
  • Composer: Georg Friedrich Haas
  • Commission: Kompositionsauftrag vom Klangforum Wien finanziert durch die Ernst von Siemens Stiftung. Die Komposition ist im Rahmen des Projektes „Giacinto Scelsi Revisited“ entstanden und von experimentellen Klangdokumenten Scelsis inspiriert worden. Dank an die Fondazione Isabella Scelsi für die freundliche Überlassung von Kopien der orig. Tondokumente Giacinto Scelsis, die bei den Aufführungen von Introduktion und Transsonation auch zu hören sind, und für die Erlaubnis zu ihrer künstlerischen Nutzung.

Work introduction

This piece was composed as part of the Giacinto Scelsi Revisited project, inspired by Scelsi’s experimental sonic documents. Heartfelt thanks are owed to the Fondazione Isabella Scelsi for kindly providing copies of Giacinto Scelsi’s original sonic documents, used in performances of Introduktion und Transsonation.

Haas says about the project:

The composition is a preamble and (sonic) transfer of Scelsi’s thinking and the original documents. The succession of note heads is merely a makeshift solution to the problem of setting down a complex of sonic images. As a notational technique, storing such images using electronic media is absolutely equivalent to writing them down on musical staves. Scelsi’s notational procedure is entirely comparable to Beethoven’s sketchbook, for instance […] Scelsi has proved that it is possible to compose music without using notational means in the composing process. In view of the artistic power of his works, we can put it this way: it was not a question of an option here, but of an aesthetic necessity.


The complete perusal score (PDF-preview)

World première

Köln (DE)
Klangforum Wien
Sian Edwards

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