This website uses cookies to ensure you get the best experience on our website. Learn more

Playlist of Georg Friedrich Haas

x
  • 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 Janurary 2019, Royal Academy of Music


    Official Composer Website


    © Photo: Nafez Rerhuf


    This video has a purpose of promotion, not for profit.
    If you have any complaints about copyright issues, please write me a direct message at dhdmlwls02(at)gmail(dot)com before submitting a report to Youtube. Then I will delete the video as soon as possible.

  • 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



    This video has a purpose of promotion, not for profit.
    If you have any complaints about copyright issues, please write me a direct message at dhdmlwls02(at)gmail(dot)com before submitting a report to Youtube. Then I will delete the video as soon as possible.

  • x
  • 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

  • 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


    This video has a purpose of promotion, not for profit.
    If you have any complaints about copyright issues, please write me a direct message at dhdmlwls02(at)gmail(dot)com before submitting a report to Youtube. Then I will delete the video as soon as possible.

  • x
  • in vain

    1:3:12

    Provided to YouTube by NAXOS of America

    in vain · Klangforum Wien

    Haas: in vain

    ℗ 2003 Kairos

    Released on: 2003-01-01

    Conductor: Sylvain Cambreling
    Ensemble: Klangforum Wien
    Composer: Georg Friedrich Haas

    Auto-generated by YouTube.

  • Georg Friedrich Haas - Concerto Grosso No. 1

    30:36

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

    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.

  • x
  • 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!
    Web:
    Facebook:
    Twitter:

  • dark matter

    3:29

    dark matter (s) : the nature of sound

    Krzysztof Penderecki – De natura sonoris no.2
    György Ligeti – Melodien
    Giacinto Scelsi – Quattro pezzi per Orchestra
    Georg Friedrich Haas – Natures mortes

    Polish Orchestra Sinfonia Iuventus
    Wiktor Kociuban - conductor

    Videos presented during concert as work introductions.

    More info:



    video editing: Zviad Gamsachurdia

  • 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



    This video has a purpose of promotion, not for profit.
    If you have any complaints about copyright issues, please write me a direct message at dhdmlwls02(at)gmail(dot)com before submitting a report to Youtube. Then I will delete the video as soon as possible.

  • x
  • 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



    This video has a purpose of promotion, not for profit.
    If you have any complaints about copyright issues, please write me a direct message at dhdmlwls02(at)gmail(dot)com before submitting a report to Youtube. Then I will delete the video as soon as possible.

  • Klangforum Wien: Georg Friedrich Haas — HYENA #1

    5:31

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

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

    Rehearsals at Klangforum Wien and world premiere of „Hyena“ 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: Blumenwiese 1-3

    27:21

    Georg Friedrich Haas (*1953)
    Blumenwiese 1-3, for alto saxophone, marimba and piano (2017/18)

    Trio Accanto


    Official Composer Website



    This video has a purpose of promotion, not for profit.
    If you have any complaints about copyright issues, please write me a direct message at dhdmlwls02(at)gmail(dot)com before submitting a report to Youtube. Then I will delete the video as soon as possible.

  • Georg Friedrich Haas - Violin Concerto

    18:31

    Composed in 1998, commissioned by ORF.

  • Haas Hommage à György Ligeti

    16:47

    Georg Friedrich Haas - Hommage à György Ligeti
    from 3 Hommages (1982-4)

    Thomas Ang, two pianos tuned a quarter-tone apart

    ------------------------------------------

    Haas writes detailed instructions for the performance of this piece. The sheet music proper consists of these 16 lines of music, which are a kind of shorthand; Haas requires that these chords be repeated continuously always fortissimo, with the new tones fading imperceptibly in (crescendo dal niente). Diamond noteheads in brackets denote tones that he wants faded out in the same manner.

    Both hands should be synchronised, and the rate of repetition of chords should be as semiquavers at approximately crotchet = 96.

    The piece should last between 16 and 20 minutes.

    ------------------------------------------

    The pianos are tuned a quarter-tone apart by lowering the entire range of one piano by a quarter-tone. They should also be placed at right angles, though in this performance I put them at just slightly too wide an angle to be comfortable; the last 3 minutes of this piece involved playing through some intense shoulder cramps.

    Live performance at the Royal Academy of Music, 27th June 2017.

  • Georg Friedrich Haas: ins Licht

    2:48

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

    Longleash

    Universal Edition ©


    Composer Information



    This video has a purpose of promotion, not for profit.
    If you have any complaints about copyright issues, please write me a direct message at dhdmlwls02(at)gmail(dot)com before submitting a report to Youtube. Then I will delete the video as soon as possible.

  • Georg Friedrich Haas: Bluthaus

    1:42:14

    Georg Friedrich Haas (*1953): Bluthaus, Opera in 10 Scene su testo di Händl Klaus (2010/2011).

    Nadja Albrecht (Figlia): Sarah Wegener
    Natascha Albrecht (Madre): Ruth Hartmann
    Werner Albrecht (Padre): Otto Katzameier
    Axel Freund (l'Agente): Daniel Gloger

    Schauspielensemble des Theater Bonn
    SWR-Radio-Sinfonieorchester Stuttgart diretti da Stefan Blunier.

    Registrazione live della Prima mondiale, 29 Aprile 2011, Schwetzinger SWR-Festspiele.

    ***

    The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.

    Your collaboration will be appreciated.

  • 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:

  • Georg Friedrich HAAS :: tria ex uno

    13:15

    IV ST. PETERSBURG INTERNATIONAL NEW MUSIC FESTIVAL


    Georg Friedrich HAAS (*1953)
    tria ex uno (Russian Premiere, 2001), for flute, clarinet, piano, percussion, violin and cello

    Talea Ensemble (USA)
    Conductor – James BAKER

    Performers:
    Barry Crawford, flute
    Marianne Gythfeldt, clarinet
    Alex Lipowski, percussion
    Steven Beck, piano
    Emilie-Anne Gendron, violin
    John Popham, cello

    Wednesday, May 25th 2016
    Mariinsky TheatreMariinsky Theatre Concert Hall




    IV САНКТ-ПЕТЕРБУРГСКИЙ МЕЖДУНАРОДНЫЙ ФЕСТИВАЛЬ НОВОЙ МУЗЫКИ

    Георг Фридрих ХААС (*1953)
    tria ex uno (РП 2001), для флейты, кларнета, фортепиано, ударных, скрипки и виолончели

    Talea Ensemble (США)
    Дирижер – Джеймс БЕЙКЕР

    Исполнители:
    Барри Кроуфорд, флейта
    Марианна Гитхфелдт, кларнет
    Алекс Липовски, ударные
    Стивен Бек, фортепиано
    Эмили-Энн Гендрон, скрипка
    Джон Пофем, виолончель

    Среда, 25 мая 2016 г.Mariinsky Theatre
    Концертный зал Мариинского театра



    Copyright © St.Petersburg Contemporary Music Center reMusik.org. All Rights Reserved.
    Санкт-Петербургский центр современной академической музыки reMusik.org. Авторские права охраняются.

  • Georg Friedrich Haas - Konzert für Klangwerk und Orchester

    22:09

    Christoph Sietzen, percussion
    Philharmoneschen Orchester Lëtzebuerg
    Ilan Volkov, conductor

  • Georg Friedrich Haas - REMIX

    26:32

    Klangforum Wien

    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.

  • x
  • Georg Friedrich Haas - Drei Liebesgedichte

    15:40

    Neue Vocalsolisten Stuttgart

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

  • Georg Friedrich Haas - Solo

    14:20

    Garth Knox

    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.

  • Georg Friedrich Haas, Ein Schattenspiel

    10:37

  • Georg Friedrich Haas: Anachronism

    14:22

    Georg Friedrich Haas: Anachronism (2013)

    ensemble oktopus für musik der moderne
    Conductor: Konstantia Gourzi

    9 December 2014, Reaktorhalle, Munich


  • Georg Friedrich Haas - Open Spaces

    17:25

    in memory of James Tenney

    the string instruments are detuned

    unknown performers

    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.

  • Georg Friedrich Haas Ein Schattenspiel

    10:40

  • Georg Friedrich Haas - AUS.WEG

    18:33

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

    unknown performers

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

  • 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.

    ----

    The music published in this channel is exclusively dedicated to divulgation purposes and not commercial. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform me immediately before you submit a claim to Youtube, and it will be my care to remove immediately the video accordingly.

  • Georg Friedrich Haas - Descendiendo

    35:28

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

  • Georg Friedrich Haas - Poème

    17:03

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

  • Georg Friedrich Haas: ...Und...

    27:05

    Georg Friedrich Haas (*1953): ...Und..., for ensemble and live electronics (2008).

    Experimentalstudio des SWR, live electronics
    Collegium Novum Zürich diretti da Enno Poppe.

    ***

    The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.

  • Klangforum Wien: Georg Friedrich Haas — HYENA #2

    3:13

    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 - Monodie

    16:38

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

  • Georg Friedrich Haas - RELEASE

    38:26

    Ensemble Resonanz
    Emilio Pomarico

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

  • Georg Friedrich Haas - In Nomine

    3:49

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

  • 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

  • Georg Friedrich Haas - 3 Stücke für Mollena

    31:28

    00:01 1 - das Ende der Sehnsucht
    10:40 2 - Harmonie
    18:18 3 - Hochzeitsmarsch

    RIAS Kammerchor
    Münchner Kammerorchester
    Alexander Liebreich

    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.

  • 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 2/3

    9:12

  • Georg Friedrich Haas - String Quartet No. 8

    20:37

    Performed by Jack Quartet

    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.

  • Georg Friedrich Haas – Sayaka

    10:53

    Jonathan Shapiro – percussion
    Felix Kroll – accordion

    visit us:

  • 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

  • Georg Friedrich Haas - Blumenstück

    21:12

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

  • 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, 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 Ein Shattenspiel

    10:33

    2014.2.20 New Music Miami Concert for piano and live electronics
    @FIU concert hall

    Piano: Chen-Hui Jen
    Live Electronics: Jacob David Sudol

  • Dark Dreams · Georg Friedrich Haas · Orquestra Sinfónica do Porto Casa da Música

    26:45

    Esta é uma obra rodeada por um sentimento de presságio, com um dualismo entre mudança e conformidade (segundo as críticas muito favoráveis). Em dark dreams, o sentimento de incerteza paira no ar e a partitura é repleta de rápidas mudanças de volume durante os seus quase vinte e três minutos. Os instrumentos tentam romper a estabilidade do tempo – que pode ser comparado com a tranquilidade dos segundos marcados por um relógio –, tentando acelerar quando a música parece querer estagnar.

    A maior parte das obras de Haas tem elementos microtonais – aliás, o compositor afirma não poder compor sem o uso dos microtons –, mas em dark dreams, ao contrário do que acontece com outras obras como in vain (2000), a afinação é bastante mais simples, mais macrotonal do que microtonal, poderíamos até afirmar.
    A “atracção dos sons” ou Klangmusik (ofoco no desenvolvimento do próprio som) e o uso de uníssonos que caracterizam o seu estilo musical são notáveis nesta obra. Veja -se a descrição deste conceito pelo compositor (numa entrevista a Karsten Witt em Dezembro de 2013 ):
    “É algo que sem dúvida caracteriza o meu estilo pessoal – o desenvolvimento do som contém a informação essencial. Ainda assim, há algo especial que acontece nesta peça: perto do final, uma estrutura melódica muito clara aparece repentinamente. Depois de 17 minutos, o fagote começa a tocar uma melodia a solo. Depois do longo desenvolvimento sonoro anterior a este momento, esta linearidade surge como um elemento expressivo estranho. (…) [De seguida] a orquestra assume a melodia: toda a orquestra começa a cantar. Uso muito a escrita em uníssono nessa secção, com as notas espalhadas por várias oitavas. Imagine -se um órgão em que se pode alterar o registo contínua e gradualmente, por exemplo através de um sistema de controlo computorizado – o que, claro, não seria possível num órgão. (…) Comecei a usar esta técnica no início de Tetraedrite. A ideia surgiu -me quando ouvi Simon Rattle e a Filarmónica de Berlim a tocar a Nona de Mahler. Em Tetraedrite, tudo se desenrola de forma muito simples: há dois uníssonos, um em todas as cordas e outro em todos os sopros. Em dark dreams, é um pouco mais complicado porque estes uníssonos são alargados a várias oitavas com constantes alterações de registo. Uma melodia, por exemplo, começa no registo médio e a certa altura muda para outra oitava, e revela -se então o registo mais grave.”

    A respeito do estímulo concreto para a composição de dark dreams, diz o compositor: “Continuei onde tinha deixado Tetrae‑ drite. Uma secção de dark dreams foi também influenciada por uma aula de composição. Uma aluna, Nina Young, escreveu uma peça para seis percussionistas que me impressionou bastante. Havia um momento em que os instrumentos tocavam as mesmas notas muito rapidamente (…) Há uma longa secção [emdark dreams] semelhante ao que a aluna compôs – são apenas as notas fá sustenido e lá sustenido, mas de uma forma muito variada e alargada a toda a orquestra.” A obra dark dreams foi estreada a 20 de Fevereiro de 2014 pela Orquestra Filarmónica de Berlim, sob a direcção de Simon Rattle, na conceituada Philharmonie em Berlim.

  • Georg Friedrich Haas, natures mortes Part 3/3

    8:21

  • Georg Friedrich Haas - Quartett für vier Gitarren

    13:20


    Konzertsaal HfMT Köln, 2016
    Cologne Guitar Quartet: Tal Botvinik, Henrique Almeida, Tobias Juchem, Ptolemaios Armaos

  • Georg Friedrich Haas - Concerto Grosso No. 2

    24:11

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

    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.

Shares

x

Check Also

Menu