# DECADES: An interview with Georg Friedrich Haas



## Morimur (Jan 23, 2014)

Make of this what you will...

https://van-us.atavist.com/decades


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## Guest (May 12, 2016)

I've read this before...presumably via this forum...


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## Hildadam Bingor (May 7, 2016)

> I was in Darmstadt, I think it was 1996, and an American musicologist did a lecture on music and sexuality. She showed how the formal principles of classical music were analogous to the male orgasm, and analyzed them in terms of foreplay, building up of tension, relaxation after climax, and postcoital coda.


...how is that different from her orgasms??


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## EdwardBast (Nov 25, 2013)

Hildadam Bingor said:


> ...how is that different from her orgasms??


No cuddling. Goes out for beer in the coda. 

What a d-----bag that man is!


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## Xenakiboy (May 8, 2016)

Just been checking out Haas' music lately thanks to this site and I read that article last night (before I say this post) and I find Georg to be an interesting and quite relatable character. Very down-to-earth type, which is good to see in the world of ambitious composers!


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## Pugg (Aug 8, 2014)

Those pics / article I've seen before, like dogen says, on this site


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## Nereffid (Feb 6, 2013)

The one thing I found particularly intriguing was this:


> At the beginning of my artistic development, I organized my music based on abstract principles. I composed complex mathematical processes, "serial" would be somewhat of an understatement. And at performances, I was surprised to realize that these pieces, despite their abstract construction, had a strong emotional effect.
> I thought that the energy of the construction, the power inherent in the mathematically organized materials, would have a direct result in the music. But I noticed that incorrect calculations or other mistakes didn't diminish the works at all. I composed "Nacht-Schatten," which was my most successful work in the 1990s, on a desktop computer. Then a student of mine did an analysis of it and found over 250 serious mistakes. It's pretty obvious why-when you work from a flickering computer screen writing numbers down on paper, it stands to reason that about two percent of them will be wrong. But the piece worked, completely. And that is very hard to explain, because the changes were unintentional.


"over 250 serious mistakes" and neither the audience nor the composer noticed anything?


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## Hildadam Bingor (May 7, 2016)

Imma just point out, when middle aged Wagner wanted to make a point about kinky sex, he gave the world an opera about two beautiful young twins doin' it, not an interview about how he liked to freaky with Minna.


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## Hildadam Bingor (May 7, 2016)

Nereffid said:


> "over 250 serious mistakes" and neither the audience nor the composer noticed anything?


As Geoffrey Rush would say, the notes are more what you call guidelines...

On the other hand of course if the mistakes don't matter then by definition they aren't serious.


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## Hildadam Bingor (May 7, 2016)

The mistakes are hopeless but not serious.


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