Georg Friedrich Haas

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Georg Friedrich Haas (born August 16, 1953 in Graz ) is an Austrian composer .

Career

Georg Friedrich Haas, grandson of the architect Fritz Haas , grew up in Tschagguns (Vorarlberg). From 1972 to 1979 he studied composition (with Iván Eröd and Gösta Neuwirth ), piano (Doris Wolf) and music education at the University of Music and Performing Arts Graz . Haas is a founding member of the Graz Composers' Association the other string . From 1981 to 1983 Haas studied with Friedrich Cerha in Vienna . He participated several times in the Darmstadt summer courses and in the “Stage d'Informatique Musicale pour compositeur” at the IRCAM in Paris . From 1991 to 1994 he was director of the Bludenzer Days of Contemporary Music .

Georg Friedrich Haas taught first as a lecturer and later, with interruptions, as a professor at the University of Music and Performing Arts Graz a . a. the subjects of contemporary composition techniques and counterpoint . Since autumn 2005 he has also been a lecturer in composition at the Music Academy of the City of Basel . Since September 2013 he has been Professor of Composition at Columbia University New York.

On September 14, 2017, Haas, the keynote speaker on the 50th Styrian Autumn in Graz , commented that the 1963 Peter Rosegger Literature Prize was not given to Joseph Papesch in spite of, but rather “because of his Nazi past”.

Georg Friedrich Haas is married to the American Mollena Williams-Haas for the fourth time and has three children from previous marriages. The documentary film "The Artist and the Pervert" (2017, directors: Beatrice Behn, René Gebhardt) portrays the sadomasochistic relationship with his current wife.

Aesthetics and work

Georg Friedrich Haas is considered a representative of spectral music . His works are primarily characterized by sonic experiments, which often go back to breaking up the twelve-tone system for intensive use of microintervallics and panchromatic as well as special overtone series . Haas' aesthetic is based on the conviction that music can "formulate people's emotions and mental states in such a way that they can also be accepted by other people as their own". Haas broke with the intellectualism of some currents of the musical avant-garde (e.g. deconstructivism). Many of his compositions revolve around the thematic poles “night”, “foreign” and “romanticism”. Haas works with processes that are often very repetitive.

Awards

Compositions and writings (selection)

Stage works

  • Coma. Opera based on a libretto by Klaus Händl . WP : Schwetzingen SWR Festival 2016.
  • Thomas. Opera based on a libretto by Klaus Händl. Premiere: Schwetzingen SWR Festival 2013.
  • Blood house. Opera based on a libretto by Klaus Händl. Premiere: Schwetzingen SWR Festival 2011.
  • Melancholia. Opera in 3 acts based on the novel by Jon Fosse . 2008.
  • The beautiful wound. Opera based on Franz Kafka , Edgar Allan Poe et al. Premiere: Bregenz 2003.
  • Night. Chamber opera in 24 pictures; Libretto by the composer based on texts by Friedrich Hölderlin . (Premiere: concert performance 1996 Bregenz, scenic 1998 Bregenz).
  • Adolf Wölfi. Chamber opera. Premiere: Graz 1981.

Orchestral works

  • Concerto for trombone and orchestra (2016)
  • Encore for orchestra (WP: 2016 Bamberg)
  • 3 pieces for Mollena for chamber choir and chamber orchestra (premiere: 2016 Munich)
  • concerto grosso No. 1 for alphorns and orchestra (premiere: "musica viva" 2014)
  • Tetraedrite for orchestra (2011/2012)
  • limited approximations for six grand pianos and orchestra (premiere: Donaueschinger Musiktage 2010)
  • Fragment for large orchestra (2007)
  • Concerto for piano and orchestra (2007)
  • Hyperion Concerto for Voice of Light and Orchestra. (Premiere Donaueschinger Musiktage 2006)
  • Opus 68 for large orchestra; Based on the 9th piano sonata by Alexander Scriabin . 2004.
  • Concerto for violoncello and large orchestra (2004)
  • Natures mortes for orchestra and accordion. (WP Donaueschinger Musiktage 2003)
  • ... so that afterwards I overlook it in my mind like a beautiful picture ... for string orchestra (2001)
  • Torso for large orchestra; based on the unfinished piano sonata in C major D 840 by Franz Schubert (1999/2000)
  • Descendiendo for orchestra (1993)

Ensemble works

  • Release for string ensemble (each with a retuned second instrument), harp (with 2 microtonally retuned harps, possibly a third, traditionally tuned harp), piano (2016)
  • Octet for eight trombones (Premiere: Donaueschinger Musiktage 2015)
  • La profondeur for 13 instrumentalists (2009)
  • Haiku for baritone and ten instruments (2005)
  • Ritual for twelve large drums and three brass bands (2005)
  • Seven sound spaces for choir and orchestra (WP Salzburg 2005)
  • tria ex uno for ensemble (2001/2002)
  • in vain for 24 instruments (2000/2002)
  • Blumenstück for choir, bass tuba and string quintet (2000)
  • Nach-calling ... escaping ... for ensemble (1999)
  • Foreign Worlds Concerto for piano and 20 strings (1997)

Chamber music

  • Blumenwiese, for saxophone, piano and percussion (2017-2018)
  • 10th string quartet (2016)
  • 9th string quartet (2016)
  • 6th string quartet (2010)
  • 5th string quartet (2007)
  • Quartet for 4 guitars (2007)
  • 4th string quartet (2003)
  • In iij. Noct , 3rd string quartet (2003)
  • flow and friction for sixteenth- tone piano for four hands, (2001)
  • 2nd string quartet (1998)
  • 1st string quartet (1997)
  • ... out of free lust ... connected ... for various line-ups (1994)
  • ... shadow ... through unimaginable forests for two pianos and two percussionists (1992)
  • Three homages for a pianist and two pianos tuned a quarter tone apart (1985)

Solo works

  • de terrae fine for violin solo (2001)
  • I can't breathe for trumpet solo (2014)

Fonts

Web links

Individual evidence

  1. ↑ Cordula Reyer: Georg Friedrich Haas: "Shame yes, guilt no" . In: The time . November 8, 2016, ISSN  0044-2070 ( zeit.de [accessed November 8, 2016]).
  2. ^ Bernhard Günther: Georg Friedrich Haas. In: The music in past and present , person part, Vol. 8, 2nd edition Bärenreiter, Kassel 2002, Sp. 336–338, Sp. 336.
  3. ↑ Georg Friedrich Haas: The autumn, Nazi fog and art over Graz. Excerpt from the speech in the daily newspaper Der Standard , September 16, 2017, p. 38.
  4. ↑ Haas' speech of September 14, 2017 on the Styrian Autumn website
  5. ↑ Interview 2016
  6. ^ Documentary "The Artist & The Pervert" - Slave and Muse . In: Deutschlandfunk Kultur . ( deutschlandfunkkultur.de [accessed October 31, 2018]).
  7. ↑ Maria Wiesner: Documentary "The Artist and the Pervert" - slave and master. FAZ.net , April 26, 2020, online
  8. ↑ Georg Friedrich Haas: "These shadows of memory". About the finale of the first section of my opera “the beautiful wound”. In: Andreas Dorschel (ed.): Resonances. About remembering in music. Universal Edition, Vienna / London / New York 2007 ( Studies on Valuation Research 47), pp. 197–204, p. 203.
  9. ^ Members of the Austrian Art Senate
  10. ^ New members of the Akademie der Künste Press release from the Akademie der Künste Berlin, June 18, 2012
  11. ↑ Salzburg Music Prize 2013 on the website of the State of Salzburg
  12. ↑ About Schubert's Erlkönig
personal data
SURNAME Haas, Georg Friedrich
BRIEF DESCRIPTION Austrian composer
DATE OF BIRTH August 16, 1953
PLACE OF BIRTH Graz , Austria