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The acoustic qualities of brass instruments have led me to employ a harmonic system which takes into account the intervallic structure of the overtone series (also its differences from the twelve-tone tempered scale) and which is based on combination tones and narrow interval steps. Oscillations and slow glissandi which move within the smallest possible intervals play a prominent role in the composition.
Since the performers have a major say in decisions affecting duration, the length of the piece may vary but should be at least 20 to 25 minutes.
Georg Friedrich Haas
"With his brass septet ... on breath, silence and fragility... Georg Friedrich Haas has again demonstrated his phenomenal ear for sonorities and has shown in quarter tone and sixth tone chord progressions how delicate brass instruments can sound."
Reinhard Kager, FAZ
"Of all the world premieres that of Georg Friedrich Haas, ... on breath, silence and fragility... for seven brass instruments had the most import. With its narrow intervals, oscillating harmony and slow glissandi, he explores a sound world which wind instruments have in the past rarely entered."
Peter Blaha, Der Standard
"Of the finely wrought, rather short brass pieces at the concert, it was that of Georg Friedrich Haas with its subtle harmonic tensions, which stood out not only on account of its length of 25 minutes but also because it kept the promise of its poetic title: ... on breath, silence and fragility... "
Gottfried Krieger, Neue Zeitung