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Playlist of Georg Friedrich Haas

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  • Georg Friedrich Haas: String Quartet No. 5

    15:15

    Georg Friedrich Haas (*1953)
    String Quartet No. 5 (2007)

    Crash Ensemble String Quartet

    Universal Edition ©


    The players sit as far apart as possible around the audience, e.g. one instrument each in the four corners of a rectangular concert hall.
    Set up in clockwise direction: Violin I - Cello - Violin II - Viola.

    Die Spielerlnnen sitzen möglichst weit entfernt voneinander um das Publikum herum, z.B. jeweils ein Instrument in den vier Ecken eines rechtwinkligen Konzertsaales.
    Aufstellung im uhrzeigersinn: Violine I - Violoncello - Violine II - Viola.

    (I apologize for some editing mistakes ...)


    Original Audio


    Official Composer Website



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  • Georg Friedrich Haas: Solstices

    1:16:57

    Georg Friedrich Haas (*1953)
    Solstices, for 10 instruments in total darkness (2019)

    Riot Ensemble
    Aaron Holloway-Nahum (conductor)

    UK Premiere, 29 January 2019, Royal Academy of Music


    Official Composer Website


    © Photo: Nafez Rerhuf


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  • Georg Friedrich Haas: The Composers Mind

    9:36

    In this next episode of our The Composer's Mind series, we speak to Georg Friedrich Haas. Having performed his works in vain (2000), Open Space II (2007), ATTHIS (2010), „Ich suchte, aber ich fand ihn nicht.“ (2012) and The last minutes of inhumanity (2018) in recent years, Haas has just completed a new commission for the London Sinfonietta, Hommage à Bridget Riley (2019). Hear Haas discuss this new work, his reaction to Bridget Riley's work and the formations of his interest in microtonality.

  • Georg Friedrich Haas - limited approximations

    32:39

    limited approximations, for 6 micro-tonally tuned pianos and orchestra (2010)

    Akiko Okabe, Pi-Hsien Chen, Christoph Grund, Florian Hoelscher, Julia Vogelsänger & Sven Thomas Kiebler, piano

    SWR-Sinfonieorchester Baden-Baden und Freiburg
    Sylvain Cambreling

    The twelfth-tone interval is so small that it is no longer heard as an interval, but rather as the shading of a single note. A single tone played by a romantic orchestra has a wider frequency. The aural effect of a scale in twelfth-tone intervals is thus similar to a glissando. The effect of a cluster of twelfth-tones depends on the register: higher up, it is sharp, abrasive, biting, lower down it is soft, melting, rich. Of course it is also possible to build raw, dissonant chords with twelve-tone intervals -- much more differentiated (also in the degree of acuteness) than with the traditional 12 tones per octave. But it is also possible to build much more consonant chords than in the traditional twelve-note scale: a close approximation of the twelve-tone scale can be produced in the overtone scale, accurate up to a twelfth of a tone.

    The intonation of the pianos is precisely measurable at all times -- where it would be extremely time-consuming to construct overtone chords with the orchestra alone (including overtone chords based on tonics outside the traditional twelve-tone system), the six precisely tuned pianos can produce these chords in an instant -- admittedly, only in the limited approximation of the 72 twelfth-tones per octave. The score gives the following instruction on the intonation of the overtone scale:

    The twelfth-tone tuning of the pianos provides a good approximation of the intervals of the overtone scale, but diverges from it markedly in some respects. Ideally, the instruments of the orchestra would take the example of the tuning of the piano only at the tonic and the octaves, and correct all other intervals by ear towards the correct tuning (particularly the fifths and augmented ninths, the major thirds and the minor sixths), with the twelfth-tone scale of the pianos merely serving as an orientation point.

    limited approximations does not tell a story. As with all my compositions, there is also no formal development or traditional formal structure. Contrasting elements alternate with one another -- moments of smoothness and friction. Pseudo-glissandi in the pianos arrive unexpectedly at overtone chords. Apparently stable constellations of intervals begin to falter as the twelfth-tones merge.

    The spectral, telescoping chords of the pianos are taken up by the orchestra, over and over again. In my early works I had to limit myself to a few basic tones, out of respect for what was practically realisable: in vain makes do with only the 12 tones of the traditionally tuned scale. Natures mortes uses only six different overtone chords, of which four are based on tones found in the traditionally tuned system. In limited approximations, thanks to the pianos, the whole world of sound is open to me. A microtonal countermovement is composed into the final third of the piece: from the fifth C'-G' to the neutral second between the E sharp raised by a twelfth-tone and the F lowered by a sixth-tone. Thus 10 different intervals arise, each of which becomes the centre of an overtone chord. This section last more than 100 bars. Or: an overtone chord, starting fortissimo, rings out, is picked up in the orchestra, swells again to a crescendo, which masks the start of a new overtone chord in the pianos, only the reverberation can be heard, it rings out, is taken up by the orchestra, swells... etc.

    --Georg Friedrich Haas

    Art by Georgia O'Keeffe

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  • Georg Friedrich Haas - String Quartet No. 2

    20:33

    String Quartet No. 2 (1998)
    Composer: Georg Friedrich Haas (b. 1953)
    Performers: Kairos Quartett
    ____________________________________________________________________

    Though likewise written in a single movement and roughly equivalent in length, the Second String Quartet surpasses the First in making conventionality an integral part of its musical events. In doing so, it also reflects the aesthetic and tradition of the musicians for whom it was written: the Hagen Quartet, an ensemble schooled in earlier European art music. Dispensing with scordatura, the quartet is based on the overtone series on great C, the lowest note on the cello. Yet the initial euphony ultimately proves deceptive. The piece gives little indication of being multi-layered or conversational. After its opening gesture - an overtone chord spread over several bars and building up to the eleventh partial - we hear a passage in „broken texture which, however, is subsumed into a dense undergrowth of imitative glissando sequences, dynamic oscillations and, later, arpeggios comprised of simple triads spread over several octaves. We also encounter a dramatic passage of tritone glissandi continuously resounding in one voice or another before entering a ritardando of almost „purified harmony. Toward the end of the piece, we hear a fiendishly difficult but extraordinarily intense passage of migrating microtonal chords consisting of a fundamental plus fifth (viola), seventh (violin 2) and eleventh (violin 1) partials. The cello wanders from chord to chord by means of glissandi, tarrying each time on the new overall sonority. Static chords articulate the form to the very end of the piece.

    „Haas is not a composer of idylls, despite his many minutes of strikingly consonant sonorities. It is not heavenly lengths that lie in the chordal sound-sheets of his Second String Quartet so much as, at best, unsettling distortions of the temporal continuity (Bernhard Gunter). Haas has little to say about his process of creation. With regard to the conception of his Second Quartet, he recalls that the formative experience was a refrigerator standing nearby when he began work on the piece. Having conceived a glissando passage to open the quartet, he then began to analyze the refrigerator's over-tone series and its progressions (rich overtone series are typical of electrical appliances) and used them to develop a new opening. When translated to the idiom of the string quartet, the association with the refrigerator remains hidden to the uninitiated listener. Nor is it always especially relevant, for the sonority can be regarded as self-sufficient, even bordering on meditative music in the best sense for long passages at a time. This is perhaps one major difference from the First String Quartet, which sounds more extreme and demands more space for associations so that the sonic events can be perceived. „My Second String Quartet combines tonal, seemingly historicizing sonic elements with microtonal shifts, temporal expansions and contractions, and a sometimes virtuoso, flicker-ing sonority. Tradition shines through again and again, but it is perceived as something lost, remote, troubled (Haas).

    ~Simone Heilgendorff
    Translation: J. B. Robinson
    Source: CD Booklet
    _________________________________________________________________

    For education, promotion and entertainment purposes only. I do not own rights to the score or the performance. If you have any copyrights issue, please write me and I will delete this video.

  • Georg Friedrich Haas «Konzert für Klangwerk und Orchester» | Christoph Sietzen | Philharmonie Lux

    23:06

    Georg Friedrich Haas: Konzert für Klangwerk und Orchester

    Uraufführung am 29.11.2019 in der Philharmonie Luxembourg im Rahmen von «less is more − rainy days 2019»

    Orchestre Philharmonique du Luxembourg
    Ilan Volkov Leitung
    Christoph Sietzen Percussion

    Kompositionsauftrag Philharmonie und Orchestre Philharmonique du Luxembourg, Wiener Konzerthaus, Gürzenich-Orchester Köln und Casa da Música, Porto; Verlag Ricordi

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  • Georg Friedrich Haas: ins Licht

    2:48

    Georg Friedrich Haas (*1953)
    ins Licht, for violin, cello and piano (2007)

    Longleash

    Universal Edition ©


    Composer Information



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  • Georg Friedrich Haas - Solo

    14:20

    Garth Knox

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  • Georg Friedrich Haas: Konzert für Posaune und Orchester | Mike Svoboda | Donaueschinger Musiktage

    18:46

    Georg Friedrich Haas: Konzert für Posaune und Orchester (2016) | Uraufführung / world premiere, Baarsporthalle Donaueschingen, SWR Donaueschinger Musiktage, 16.10.2016
    Mike Svoboda, Posaune
    SWR Symphonieorchester
    Dirigent: Alejo Pérez

    SWR Classic - Klangvielfalt erleben!
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  • Georg Friedrich Haas: Sextet

    15:01

    Georg Friedrich Haas (*1953)
    Sextet, for 3 violas and 3 cellos (1982)

    Solistenensemble Kaleidoskop
    Tammin Julian Lee (conductor)

    Universal Edition ©


    Official Composer Website



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  • Georg Friedrich Haas: equinox

    22:42

    Georg Friedrich Haas (*1953)
    eqinox, for clarinet, cello and piano (2018)

    Klangforum Wien

    World Premiere, 2 May 2019, Festival Acht Brücken


    Official Composer Website


    © Photo: Nafez Rerhuf


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  • Georg Friedrich Haas - AUS.WEG

    18:33

    fl, bar.ob, bass cl(Bb), perc, pno, vln, vla, vc

    unknown performers

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  • Georg Friedrich Haas - Poème

    17:03

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  • Georg Friedrich Haas, String Quartet No. 7

    26:21

    Composed by Georg Friedrich Haas in 2011
    Performed by the JACK Quartet and SWR Experimentalstudio Freiburg
    Presented by the Time Spans Festival at the DiMenna Center on August 18, 2018

  • Georg Friedrich Haas: Finale

    8:51

    Georg Friedrich Haas (*1953)
    Finale, for solo flute (2004)

    Beatrix Wagner

    Universal Edition ©


    Official Composer Website



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  • Georg-Friedrich Haas - “Octet“ - Played by Trombone Unit Hannover

    6:38

    Octet by Georg-Friedrich Haas Played by Trombone Unit Hannover. World Premiere at KlangRäume Festival Basel.
    With Friendly Support by Ernst von Siemens Musikstiftung. Video by Milan Büttner.

  • Georg Friedrich Haas - Concerto Grosso No. 2

    24:11

    ensemble: Klangforum Wien
    orchestra: ORF-Radiosinfonieorchester Wien
    conductor: Cornelius Meister

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  • Georg Friedrich Haas - Concerto Grosso No. 1

    30:36

    Hornroh Modern Alphorn Quartet
    ORF Radio-Symphonieorchester Wien
    conductor: Peter Rundel

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  • Georg Friedrich Haas - Blumenstück

    21:12

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  • Georg Friedrich Haas: Konzert für Klangwerk und Orchester

    22:39

    Georg Friedrich Haas (1953):
    Konzert für Klangwerk und Orchester (2019)
    Christoph Sietzen, Klangwerk

    Philharmonesches Orchester Lëtzebuerg, Ilan Volkov

    World Premiere, Rainy Days Festival, 29 November 2019
    Grand Auditorium, Philharmonie de Luxembourg

    Program:

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  • Georg Friedrich Haas: Ein Schattenspiel for piano and live-electronics

    15:00

    Ein Schattenspiel for piano and live-electronics (2004)
    Composer: Georg Friedrich Haas (1953)

    Perfomers: contemporary piano currents
    Piano: Junko Yamamoto
    Live-electronics, sound direction: Oliver Sascha Frick

    Live recording date: 19th October 2019



    - Werkeinführung -
    Schatten sind nicht ausschließlich stille und nicht ausschließlich analoge Begleiter. Georg Friedrich Haas greift aus der Vielzahl möglicher ästhetischer Spielarten mit dem Projektionsbild eine Variante auf, in der ein Pianist seinen eigenen Schatten vorauswirft. Die elektronischen Mittel: Das Gespielte wird live aufgezeichnet und mit einer Verzögerung von anfangs 24 Sekunden zum Klavier um einen Viertelton höher transponiert wiedergegeben. In der Sukzession des Werkes wird das Tempo der Echowiedergabe um den Faktor 32/33 gesteigert, der Klavierklang selbst bleibt elektronisch unverändert. Innerhalb des Zuspielverlaufs ergeben sich genauest kalkulierte pulsierende Parallelen zwischen der Echtzeit-Performance und der Aufzeichnungswiedergabe, deren Positionen aufgrund der gerafften Zuspielung jedoch keine exakten zeitlichen Übereinstimmungen erlauben. Wie der Mond in den Erdschatten eindringt und in einer Mondfinsternis das kosmische Schattenspiel zu einer deckungsgleichen Form kommt, folgt der Klangschatten dem Interpreten in immer kürzer werdenden Abständen, bis die Dauerndifferenz zwischen dem Klangsender und seinem transformierten Echo am Ende des Stückes auf null steht.
    In der filigranen Tonwelt des österreichischen Komponisten, in der immer wieder Abend- und Nachtstimmungen irrlichterne Netze ziehen, nehmen die Veränderungen der klanglichen und harmonischen Möglichkeiten der tradierten Skala mittels Mikrotonalität oder Experimenten mit schwebenden Obertonkonstellationen einen breiten Raum ein. Im Schattenspiel zitiert er die harmonischen Systeme der Vierteltonmusik von Ivan Wyschnegradsky und dessen temperierte Halbierung von großen Septimen sowie Richard Heinrich Stein, worin tonale Akkorde mittels Stimmführung in Vierteltonschritten verbunden werden. Haas interessierte an seiner Deutung des Schattenspiels vor allem der geschichtliche Aspekt: „Der Spieler des Stückes sieht sich immer wieder von Neuem dem gegenübergestellt, das er gerade gespielt hat. Die Live-Elektronik konfrontiert ihn mit seiner eigenen Geschichte. Schließlich wird er dann durch diese Geschichte eingeholt.“
    (Therese Muxeneder)

  • Georg Friedrich Haas - Monolog für Graz

    59:47

    speaker: Georg Friedrich Haas
    Talea Ensemble
    text:

    ORF Musikprotokoll
    picture: Martin Gross

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  • Georg Friedrich Haas – String Quartet No. 2 w/ Spectrogram

    20:46

    Spectral music should be viewed with the spectrogram.

    Composed in 1998.
    Performed by the Kairos Quartet in 2003.

    ----

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  • Georg Friedrich Haas: Nach-Ruf ... ent-gleitend ...

    16:32

    Georg Friedrich Haas (*1953)
    Nach-Ruf ... ent-gleitend ..., for ensemble (1999)

    Ensemble for New Music Tallinn:

    Marion Aruvee (flute)
    Heli Ernits (oboe)
    Helena Tuuling (clarinet)
    Miina Laanesaar (violin)
    Talvi Nurgamaa (viola)
    Johannes Sarapuu (cello)
    Arash Yazdani (conductor)

    © Universal Edition


    Original Audio


    Official Composer Website



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  • Georg Friedrich Haas: tria ex uno

    15:09

    Georg Friedrich Haas (*1953)
    tria ex uno, Sextet after Josquin Desprez (2001)

    Ensemble neuverBand
    Cecilia Castagneto (conductor)

    00:06 tria ex uno I
    01:35 tria ex uno II
    03:25 tria ex uno III


    © Universal Edition

    Original Audio


    Official Composer Website



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  • Georg Friedrich Haas - Quartett für 4 Gitarren - Aleph Gitarrenquartett

    14:23

    Aleph Gitarrenquartett: Andrés Hernández Alba, José Navarro, Tillmann Reinbeck, Wolfgang Sehringer, TAGE FÜR NEUE GITARRENMUSIK 2011 Staatliche Hochschule für Musik, Trossingen

  • Marco Blaauw von Georg Friedrich Haas

    14:45

    Georg Friedrich Haas
    »I can't breathe« (2014)
    für Trompete solo. In memoriam Eric Garner
    Kompositionsauftrag des Ensemble Musikfabrik, gefördert durch das Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen
    Uraufführung


    Marco Blaauw Trompete

    Konzertausschnitt, Aufzeichnung aus der Kölner Philharmonie vom 8. Februar 2015, veranstaltet von der KölnMusik

    Video-Produktion: Streaming Factory
    Regie: Robert Gummlich

    © KölnMusik 2015

  • Georg Friedrich Haas: In Vain

    2:22

    Excerpt from Georg Friedrich Haas' In Vain, performed by Ensemble Dal Niente on February 28, 2013, at the Ruth Page Center for the Arts.

    Full video here:

  • Georg Friedrich Haas - String Quartet No. 8

    20:37

    Performed by Jack Quartet

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  • Georg Friedrich Haas - Guitar Quartet

    14:23

    Quartet, for 4 guitars (2007)

    Aleph Gitarrenquartett

    I have already requested in some of my earlier pieces that the strings of the instruments should be deliberately detuned, so that simply by playing the open strings an overtone chord can be produced. In the case of the guitar this is relatively simply achieved: one has only to tune the bottom string a whole tone lower, the third string slightly more than a semitone lower, and the second string slightly more than a semitone higher. If the remaining strings are then tuned accurately in pure fourths and fifths, the six open strings produce a chord composed of the second, third, fourth, fifth, seventh and ninth partials of a low D: D-A-d-f# (minus 1/12 tone), c’ (minus 1/12 tone), e’.

    Despite this unusual tuning – and in contrast, for example, to the violin – with the help of the frets it is possible to secure relatively precise intonation.

    For aesthetic reasons, the purity of sound of these open strings needs to be ‘blurred’. For this purpose the second guitar is tuned a twelfth of a tone lower than the first, the third two-twelfths (one sixth) of a tone lower, the fourth three-twelfths (a quarter) of a tone lower.

    The music derives its impetus from the contrast between these ‘pure’ chords derived from the overtone series (including their ‘shadows’ lowered by a twelfth tone or its multiples) and sixth- or quarter-tone passages composed in free microtonality, which make use of the harmonic concepts of Ivan Vyschnegradsky.

    Between these a kind of ‘singing’ in twelfth-tone clusters repeatedly asserts itself. This simultaneous sounding of pitches which lie very close to one another is of course no longer in unison, but at the same time not quite a chord either. Instead it creates a sound rich in beat phenomena, which is used in the composition like an expressive unison.

    The Quartet for Four Guitars was written at the suggestion of Christian Scheib for the Aleph Quartet and Musikprotokoll 2007. --Georg Friedrich Haas

    Art by Alan Saret

  • in vain

    1:3:12

    Provided to YouTube by Independent Digital

    in vain · Sylvain Cambreling · Klangforum Wien · Georg Friedrich Haas

    in vain

    ℗ 2001 KAIROS

    Released on: 2001-04-01

    Auto-generated by YouTube.

  • Haas: dark dreams / Rattle · Berliner Philharmoniker

    2:38

    Full-length concert:
    Georg Friedrich Haas: dark dreams / Sir Simon Rattle, conductor · Berliner Philharmoniker / Recorded at the Berlin Philharmonie, 22 February 2014.
    The Berliner Philharmoniker's Digital Concert Hall:

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  • Georg Friedrich Haas - Descendiendo

    35:28

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  • Georg Friedrich Haas: Solstices, for 10 instruments

    1:10:29

    Georg Friedrich Haas (1953)
    Solstices, for 10 instruments (2018)

    Riot Ensemble, Aaron Holloway-Nahum
    26 January 2019, World Premiere, Dark Music Days, Nordic House, Reykjavik

    Program:

  • Vioworld trifft... Georg Friedrich Haas

    11:19

    Musiker und Komponisten im Portrait.
    Produziert vom Musikerportal Vioworld:
    Vioworld Blog:

  • Georg Friedrich Haas - RELEASE

    38:26

    Ensemble Resonanz
    Emilio Pomarico

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  • Georg Friedrich Haas - Violin Concerto

    18:31

    Composed in 1998, commissioned by ORF.

  • Georg Friedrich Haas – String Quartet No. 1 w/ Spectrogram

    32:50

    Spectral music should be viewed with the spectrogram.

    I tried to keep the sync as close as possible, but it might not be perfect in certain places.

    Performed by the Arditti Quartet, 1997

    ----

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  • Georg Friedrich Haas - I cant breathe

    12:51

    Marco Blaauw

    This is a very quiet piece most of the time, so I recommend listening to it via headphones.

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  • Das Konzert für vier Alphörner von G.F. Haas

    6:50

    Eine ungewöhnliche Kombination gibt es beim Konzert der musica viva heute Abend im Herkulessaal der Münchner Residenz zu bestaunen: Das HORNROH modern alphornquartet aus der Schweiz trifft auf das Symphonieorchester des Bayerischen Rundfunks. Gemeinsam werden sie das concerto grosso Nr. 1
    für vier Alphörner und großes Orchester von Georg Friedrich Haas zur Uraufführung bringen. Am Dirigentenpult steht die Finnin Susanna Mälkki.

    Autor: Philipp Weismann

  • Crash Ensemble Perform : Georg Friedrich Haas - String Quartet No.5

    15:31

    Crash Ensemble performing at the New Music Dublin festival on March 3rd, 2013.
    Old Engineering Library, National Concert Hall, Dublin.

  • Georg Friedrich Haas on Morgen und Abend

    8:40

    Composer Georg Friedrich Haas talks about his opera Morgen und Abend.

    Read the full transcript:


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  • Georg Friedrich Haas - Koma

    1:50:19

    Libretto: Händl Klaus
    Michaela im Wachkoma: Ruth Weber
    Michael, ihr Mann: Ekkehard Abele
    Jasmin, ihre Schwester: Lini Gong
    Alexander, Jasmins Mann/ihre Mutter: Daniel Gloger
    2 Ärztinnen:
    Frau Dr. Auer: Maika Troscheit
    Frau Dr. Schönbühl: Maria Ammann
    3 Pfleger:
    Jonas: Alexander Baab
    Nikos: David Földszin
    Zdravko: Sinan Aslan
    Ensemblemitglieder des Staatstheaters Darmstadt
    Radio-Sinfonieorchester Stuttgart des SWR
    Leitung: Jonathan Stockhammer
    (Aufnahme der Uraufführung vom 27./28. Mai im Rokokotheater - Koproduktion mit dem Staatstheater Darmstadt)

  • Georg Friedrich Haas - Monodie

    16:38

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  • Klangforum Wien: Georg Friedrich Haas — HYENA #3

    2:45

    Hyena
    Georg Friedrich Haas (music)/ Mollena Lee Williams-Haas (words)

    Mollena Lee Williams-Haas, voice
    Klangforum Wien
    conductor: Bas Wiegers

    Concert excerpt of „Hyena“ world premiere at Wiener Konzerthaus, November 12, 2016, commissioned by 2016 Wien Modern festival and Wiener Konzerthaus, with support of Ernst von Siemens Musikstiftung.

    Video: © „The Artist & The Pervert“, documentary by Beatrice Behn & René Gebhardt

  • Georg Friedrich Haas, natures mortes Part 3/3

    8:21

  • Georg Friedrich Haas - Garth Knox - solo for viola damore

    7:14

    Solo for Viola D'amore by Georg Friedrich Haas performed live by Garth Knox in Graz. This is the second half of the piece. In the final section, the sympathetic strings are plucked and bowed directly, an unusual and striking effect. These are the second set of strings on the viola d'amore, usually not played directly, only there to resonate passively. In this piece they are amplified, and controlled by a volume pedal.

  • Georg Friedrich Haas, natures mortes Part 1/3

    9:46

    Donaueschingen 2003

    The musical material of the orchestral piece natures mortes is based on
    - The combination of various harmonic chords (which result in floating, friction and interval progressions composed of small steps)
    - grid techniques of rhythm (influenced by Roy Lichtensteins paintings), in which the temporal structure of the grid dots develops a life of its own
    - an attempt to (re)discover cantabile

  • Georg Friedrich Haas ~ Wer, wenn ich schriee, hörte mich...

    24:38

    Wer, wenn ich schriee, hörte mich
    Georg Friedrich Haas
    (1999)
    ....For percussion and ensemble....

  • Georg Friedrich Haas - Introduktion und Transsonation

    17:16

    the first part of the piece is completely notated by Haas and the second part is kind of an improvisation on a recording by Scelsi which was given to the performers together with the score.

    Klangforum Wien
    Ilan Volkov (conductor)

    Just for promotion.
    Please write me a direct message if you have complains about this upload concerning copyright issues. In that case, I will delete the video immediately.

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