# Georg Friedrich Haas (1953 - )



## aleazk

"Haas' style recalls that of György Ligeti in its use of micropolyphony, microintervals and the exploitation of the overtone series; he is often characterized as a leading exponent of spectral music. His aesthetics is guided by the idea that music is able "to articulate a human being's emotions and states of the soul in such a way that other human beings can embrace these emotions and states of the soul as their own" ("Emotionen und seelische Zustände von Menschen so zu formulieren, daß sie auch von anderen Menschen als die ihren angenommen werden können").[1] Thus Haas has disavowed the intellectualism of some strands of the modernist musical avantgarde (such as serialism and deconstructivism). The emotional atmosphere of many of his works is somber.[2] Haas' operas have been criticized for giving away themes like suffering, illness and death to aesthetic voyeurism: "the piece [Haas' opera Thomas (2013)] comes dangerously close to a kind of palliative care ward tourism."" (Wikipedia)

Some of my favorite pieces are:

limited approximations (2010): 




In Vain (2000): 




natures mortes (2003): 




...Und... (2008):


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## aleazk

(<_<)..........(>_>)..........Bump!.


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## ptr

My first encounter with Haas was hearing his Concerto for Violin (1998) on Swedish Radio, a lovely piercing work! Unfortunately due to moving several times I largely forgot about him until You started pointing at him (at least for me) earlier this year. Reacquainting myself with his music has been a joy!

*Violin Concerto @ Youtube!*

/ptr


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## Blake

*Georg Friedrich Haas*








1553-

Georg Friedrich Haas was born in 1953 in Graz, a city in the east of Austria. His childhood was spent in the mountainous province of Vorarlberg, on the Swiss border. The landscape and the atmosphere of the place have left a lasting impression on his personality. The atmosphere was marked not so much by natural beauty in the accepted sense of the word. Rather, Haas experienced the mountains as a menace; he felt closed in by the narrow valley where the sun rarely penetrated. Nature for him represented a dark force. The composer adds: "Just as important for me was the experience of being an outsider: unlike my younger siblings, I never learned to speak the local Alemannic dialect. Also, I was a Protestant in a predominantly Catholic society."

To study music, Haas returned to his native city where his professors were Gösta Neuwirth and Ivan Eröd. Later, he continued his studies in Vienna with Friedrich Cerha. Haas: "For all our apparent differences (and probably mutual personal disappointments) I learned from Eröd - apart from many things about the craft of composition - one principle above all else: that the measure of everything is Man, that is, the possibilities inherent in human perception". Haas holds Friedrich Cerha in high esteem, something that the older composer (born in 1926) returns in full measure. When the occasion arises, they demonstrate their mutual appreciationunstintingly. In 2007, it was Cerha, the doyen of Austrian composers, who proposed his former pupil for the Great Austrian State Prize which Haas duly received that year.

Until then, however, Haas had had a thorny path to traverse. He speaks openly of the years of "total failure" in trying to make his mark as a composer - another experience to leave its imprint on his development, aggravating his pessimistic leanings. Success, when it did gradually emerge, only mitigated his pessimism but could never wholly eliminate it.It is no wonder, then, that night, darkness, the loss of illusions should have played such an important role in Haas' oeuvre (such as in his Hölderlin-opera Nacht, 1995/1998). It was not until quite recently that his music has been illuminated by light.Light effects, as integral components of a range of his compositions, have featured prominently for quite some time now, designed by artists specially for the music. (in vain, 2000, and particularly Hyperion, a Concerto for Light and Orchestra, 2000). However, light as opposed to darkness first emerged as late as 2006 in Sayaka for percussion and accordion as well as in the piano trio Ins Licht (2007) written for Bálint András Varga.

Georg Friedrich Haas is known and respected internationally as a highly sensitive and imaginative researcher into the inner world of sound. Most of his works (with the notable exception of the Violin Concerto, 1998) make use of microtonality which the composer has subjected to thorough examination in the wake of Ivan Wyschnegradsky and Alois Hába. He has taught courses and lectured on the subject in several countries; in 1999 he was invited by the Salzburg Festival to give a talk under the title "Beyond The Twelve Semitones", with the subtitle "Attempt at a Synopsis of Microtonal Composition Techniques". In the last paragraph, he writes: "Micro counts as 'tonality' only in contrast with 'normal tonality' in its role as a system of reference. Where this system of reference has become obsolete, the notion of 'microtonality' has been replaced by the free decision of the individual composer in his use of pitch as his material." Haas: "I am not really comfortable with being pigeonholed as a 'microtonal composer'. Primarily, I am a composer, free to use the means needed for my music. There is no ideology regarding 'pure' intonation, either as Pythagorean number mysticism or as a notion of 'Nature' determined by trivial physics. I am a composer, not a microtonalist."

In each new work, Haas enters uncharted territory, but his music is firmly rooted in tradition. His profound admiration for Schubert has found moving expression in his Torso of 1999/2001, an orchestration of the incomplete piano sonata in C major, D 840, an image of the tragic figure of Franz Schubert. Haas paid respect to Mozart not only in his "… sodaß ich's hernach mit einem Blick gleichsam wie ein schönes Bild…im Geist übersehe," composed for string orchestra in 1990/1991, but also in 7 Klangräume, 2005, meant to be interspersed with movements of Mozart's Requiem fragment (that is, divested of the supplements provided by his pupils). In Blumenstück, 2000, for chorus, bass tuba and string quintet, one hears echoes of Beethoven (perhaps never intended by the composer). In the Concerto for Violoncello and Orchestra, 2003/2004, the solo instrument quotes a motif from Franz Schreker's opera Der ferne Klang ('O Vater, dein trauriges Erbe'). Commissioned by the Gewandhausorchester Leipzig, Haas' Traum in des Sommers Nacht (2009) is a tribute to Mendelssohn, drawing on motifs from works of that composer, masterfully woven into Haas' own music.

The Cello Concerto, just as Wer, wenn ich schriee, hörte mich ..., 1999, for percussion and ensemble, reflects Haas's political commitment and his bitter realisation of his helplessness as a composer: there is no way his music could serve to better the world. The percussion concerto was written at the time of the Balkan war; when Haas heard aeroplanes flying overhead carrying their deadly burden, he asked himself whether anyone could hear him, if he were to cry out in protest against the war. The Cello Concerto begins with a scream in unbearable pain, followed by a section where the drumbeat conjures up the march rhythm of the Prussian army: a plea against fascism.

A daringly innovative composer of rich imaginative power, a homo politicus aware of his responsibilities as a citizen, Georg Friedrich Haas is one of the leading artists in Europe today. Among the prizes he has won are the SWR Symphony Orchestra Composition Prize 2010, the Music Award of the City of Vienna 2012 and the Music Award Salzburg 2013.

- As seen on universaledition.com


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## aleazk

Haas is a superb composer. His music is a perfect balance between craft and emotion.

Maybe this thread can be merged with this one: http://www.talkclassical.com/26909-georg-friedrich-haas-1953-a.html


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## Blake

Ah, yes. I didn't know there was already a page for him. A merging would seem appropriate.


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## sjorstakovitsj

His *String Quartet No. 7* is one of all-time favourite string quartets. I have yet to listen to his Third. 
Also, I recently stumbled upon his orchestration of Scriabin's *Black Mass Sonata*, quite interesting but I don't particularly like that kind of thing.


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## ComposerOfAvantGarde

Has is well represented on KAIROS and NEOS record labels, it would be cool if DG picked up his music sooner or later 

In Vain would have to be my favourite of the pieces I know from his current output.


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## Guest

I'm listening to *Traum In Des Sommers Nacht* for the first time. A really remarkable work. I've also been enjoying his *Guitar Quartet* quite a bit the last few days. And of course, everything else here is commendable too. Also listened to *Nacht* and *String Quartet No. 7* for the first time this week. Haas certainly seems to be a force to be reckoned with...


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## MagneticGhost

Vesuvius said:


> View attachment 32153
> 
> 1553-


WOW!! He's looking incredibly well preserved for his age


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## aleazk

Yes, the String Quartet No.7 with electronics from 2011 is quite a hit, one of my favorite pieces by him.


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## SeptimalTritone

One piece that isn't yet on this thread is ...... for viola and six voices. Too good.


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## Morimur

There aren't too many recordings of his work out there. A pity.


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## Guest

Morimur said:


> There aren't too many recordings of his work out there. A pity.


No, but many of them have been recorded unofficially in decent quality on youtube.

(And somehow those files have ended up on my iPod - Shhhhh)


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## MagneticGhost

arcaneholocaust said:


> No, but many of them have been recorded unofficially in decent quality on youtube.
> 
> (And somehow those files have ended up on my iPod - Shhhhh)


Perhaps you could tell me how to avoid this happening to me via PM


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## MagneticGhost

MagneticGhost said:


> Perhaps you could tell me how to avoid this happening to me via PM


Oops - just realised that some people may misinterpret this and think I've come to this thread to bash Haas. I haven't.
I've been really enjoying the youtube links I've followed recently. I would love to be able to listen to this stuff away from the computer though.


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## Guest

Hopefully I have addressed your fears with my PM of various things to avoid like the plague.


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## MagneticGhost

arcaneholocaust said:


> Hopefully I have addressed your fears with my PM of various things to avoid like the plague.


Yes, thank you my good man. 
I now know how to make a Haas free zone if I so wish.

Talking of which - I listened to Hyperion yesterday - superb. 
I need more


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## Guest

Listening to SQ 1 on Spotify. Excellent stuff. Wish there was more of his music recorded; it looks like slim pickings.


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## Guest

I heard this piece (*Limited Approximations*, for 6 micro-tonally tuned pianos and orchestra) live at the *Musica* festival (Strasbourg) two years ago - it knocked me sideways!


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## Guest

TalkingHead said:


> I heard this piece (*Limited Approximations*, for 6 micro-tonally tuned pianos and orchestra) live at the *Musica* festival (Strasbourg) two years ago - it knocked me sideways!


Jammy get!!!!!!!


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## MagneticGhost

TalkingHead said:


> I heard this piece (*Limited Approximations*, for 6 micro-tonally tuned pianos and orchestra) live at the *Musica* festival (Strasbourg) two years ago - it knocked me sideways!


It's a masterpiece. Everyone who I've played it too really enjoys it. It knocked me sideways just listening on youtube. 
I must have listened to it a dozen times in the last couple of months. I would love to hear it live. Must have been such an experience.


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## Guest

Hyperion deserves tons of attention too, but Maggy Ghost, I thought you were allergic


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## MagneticGhost

nathanb said:


> Hyperion deserves tons of attention too, but Maggy Ghost, I thought you were allergic


 As long as I have my epi-pen I'm alright.

Looking back I've listened to Hyperion but don't recollect anything about it. 
So I'm going to go away later and give it another go.


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## Guest

MagneticGhost said:


> Perhaps you could tell me how to avoid this happening to me via PM


Er, actually, I'd be VERY keen to know how to (cough) avoid this happening.


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## Blancrocher

Some recent pieces by Haas, which were given their first performances in the last year:

Concerto Grosso #1: 



Concerto Grosso #2: 



String Quartet #8: 




Fyi, the Arditti Quartet has been playing Haas' complete quartet cycle--hopefully we can have a cd recording soon.


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## Guest

Yes, I have tons of unofficial Haas on my iPod, but it's about time someone officially tackled some more of those quartets, some more of the concertos, or another opera.

He also wrote a little piece in memory of Eric Garner in the last year. Now, I'm not the biggest fan of all that stuff going on, but I found it absolutely wonderful that Haas could be so politically conscious...

Listen here:


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## Guest

Blancrocher said:


> Some recent pieces by Haas, which were given their first performances in the last year:
> 
> Concerto Grosso #1:
> 
> 
> 
> Concerto Grosso #2:
> 
> 
> 
> String Quartet #8:
> 
> 
> 
> 
> Fyi, the Arditti Quartet has been playing Haas' complete quartet cycle--hopefully we can have a cd recording soon.


These (the Concerto Grossi and String Quartet) are excellent (admittedly a quick 'horizontal' listen-through). Thanks for the post, Blanc. I'm going to listen to these in more detail this weekend (after *Crudblud's* _The Hole_; Hi Crud!). For the String Quartet, I'm going to be paying close attention to it as I have heard (again, _en toute vitesse_) handling of material that is highly reminiscent of Ligeti.


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## Albert7

String Quartet is pretty incredible... too bad your music is very hard to find in the US iTunes store.


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## Birdsong88

I was intrigued to try out some of his works, but the streaming service on arkivmusic.com did not have any of his works available. n.


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## brotagonist

There is quite a bit on You Tube.


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## Guest

iTunes is fine and dandy, and I use it. The iTunes Store is a whole nother matter. There is a lot of Georg Friedrich Haas available relative to many other fine composers' oeuvres. Would just like to see a few more official recordings.

Would be lovely if some label scooped him up and got down to business with several projects as we've seen ECM do with Kurtag, Holliger, Sylvestrov, etc... KAIROS with Lachenmann, Furrer, etc... NEOS with Mahnkopf, Maderna, Ruzicka, etc...


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## Skilmarilion

Very nice interview with GFH here:


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## Richannes Wrahms

first impression: wow
second impression: hmm...
further exposure: meh


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## Guest

Wha??
Ooh!!
Mmmmm


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## Guest

Richannes Wrahms said:


> first impression: wow
> second impression: hmm...
> further exposure: meh


I had similar doubts.

First impression: wow
Second impression: hmm...
Most recent impressions: ok yeah wow


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## aleazk

nathanb said:


> I had similar doubts.
> 
> First impression: wow
> Second impression: hmm...
> Most recent impressions: ok yeah wow


Richannes' taste is soooooooo selective that sometimes I wonder if he likes something at all!


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## Morimur

aleazk said:


> Richannes' taste is soooooooo selective that sometimes I wonder if he likes something at all!


He likes raccoons . . . that's it.


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## Richannes Wrahms

aleazk said:


> Richannes' taste is soooooooo selective that sometimes I wonder if he likes something at all!


Nothing compared to PetrB's selectivity, whose taste is very different to mine and whom, interestingly, loves Haas. Anyway, for these kinds of inquiries is where my favourites of my favourites poll serves a purpose, save the fact that the composers of that poll are all dead.
Purpose being me not needing to think about it ever again


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## Guest

I can see elements of Haas' music that are a bit cliche, but the best elements are basically some of the best stuff around. I've come to a conclusion that, while he may aesthetically be a spectralist, in practice he's more of a microtonal man, perhaps furthering the work of Scelsi. Some of the stuff he achieved with works like_ Limited Approximations_ that basically work as something like "tone cluster liquid glissandi" is just indispensable.


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## MagneticGhost

Limited Approximations and the Cello Concerto are indispensable.

I've also thoroughly enjoyed working my way through the string quartets on YT. 
Indeed, it seems criminal that there is not more available on CD. I hope this is soon rectified.


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## Sloe

I think Haas music sounds really scary.


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## PeterFromLA

An interview with the composer in which he describes being open about his personal life and what it has meant for shifts in his music.

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


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## Guest

nathanb said:


> I can see elements of Haas' music that are a bit cliche, but the best elements are basically some of the best stuff around. I've come to a conclusion that, while he may aesthetically be a spectralist, in practice he's more of a microtonal man, perhaps furthering the work of Scelsi. Some of the stuff he achieved with works like_ Limited Approximations_ that basically work as something like "tone cluster liquid glissandi" is just indispensable.


How does one distinguish spectralism from microtonal?


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## Guest

PeterFromLA said:


> An interview with the composer in which he describes being open about his personal life and what it has meant for shifts in his music.
> 
> https://van-us.atavist.com/decades


Am I being thick here? - was he supressing his what???? He's had wives....but now he has....a wife?


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## tdc

dogen said:


> Am I being thick here? - was he supressing his what???? He's had wives....but now he has....a wife?


I think he is saying he is happier in his current relationship, because he is not supressed sexually anymore. He has realized his sexual orientation is geared towards a dominant/submissive relationship. His wife is submissive. He really feels there is a strong connection between sex and composing.


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## Guest

tdc said:


> I think he is saying he is happier in his current relationship, because he is not supressed sexually anymore. He has realized his sexual orientation is geared towards a dominant/submissive relationship. His wife is submissive. He really feels there is a strong connection between sex and composing.


Uh, OK, I thought I was missing something.


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## Guest

dogen said:


> How does one distinguish spectralism from microtonal?


Based on my understanding of both, I would suggest that the two could make a fine Venn Diagram. And even though Haas does not use spectral analysis, I think his music often exhibits the spirit of spectralism. In recent years, at least, he has, of course, shown much more interest in microtones than most spectralists.

One might say that one's music must make use of spectral analysis to be spectral, but spectralism tends to yield colorful timbres and harmonies by utilizing extended techniques, harmonics, etc, and Haas' music ends up with most of these elements anyway. None of this is making any sense, I think, but, to me, it's fair enough to call Haas spectral, but his music sounds more like what might happen if Scelsi or Ligeti became interested in the idea whereas other spectralists tend to sound more rooted in Messiaen, Varese, Boulez, etc.

I quite simply do not know enough to be much clearer about this.


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## Guest

Venn is fine, cos I love works by all you mention nathan.


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## Sloe

PeterFromLA said:


> An interview with the composer in which he describes being open about his personal life and what it has meant for shifts in his music.
> 
> https://van-us.atavist.com/decades


I think he should focus on writing music and not worrying about the World problems.


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## Xenakiboy

I just discovered his music recently from my innovative living composers thread and he seems an interesting composer. I can confidently say that I really enjoyed his Cello Concerto. Some of his stuff I've heard though feels a little too minimalist (like In Vain) for my tastes, though I find some of his note clusters to be fascinating! any suggestions of pieces I should check out?


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## Adam Weber

Xenakiboy said:


> I just discovered his music recently from my innovative living composers thread and he seems an interesting composer. I can confidently say that I really enjoyed his Cello Concerto. Some of his stuff I've heard though feels a little too minimalist (like In Vain) for my tastes, though I find some of his note clusters to be fascinating! any suggestions of pieces I should check out?


I'm a big fan of the Guitar Quartet.


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## Xenakiboy

Just listening to In Vain and looking at the score. It's not the greatest thing I've ever heard but it is a very well written and sonically exploitative work! :tiphat:


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## Morimur

Xenakiboy said:


> Just listening to In Vain and looking at the score. It's not the greatest thing I've ever heard but it is a very well written and sonically exploitative work! :tiphat:


Check out one of his operas...


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## Xenakiboy

Morimur said:


> Check out one of his operas...


I'll check that out, haven't heard that one but I have heard a portion of Morgen Und Abend


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## aleazk

PeterFromLA said:


> An interview with the composer in which he describes being open about his personal life and what it has meant for shifts in his music.
> 
> https://van-us.atavist.com/decades


Ha, quite interesting.

Leaving aside the sexuality stuff, this was interesting too:

"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."

(he later says that he thinks this was not the case in his music, but whatever)


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## Morimur

aleazk said:


> Ha, quite interesting.
> 
> Leaving aside the sexuality stuff, this was interesting too:
> 
> "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."
> 
> (he later says that he thinks this was not the case in his music, but whatever)


I think he might be too busy playing doctor with his new girlfriend to keep track of what he says.


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## Richannes Wrahms

meh (bis )


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## aleazk

Yeah, meh to your meh. (meh)


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## Pugg

Richannes Wrahms said:


> meh (bis )


Amen to your ...meh


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## Xenakiboy

Pugg said:


> Amen to your ...meh


Meh to your amen, to his meh


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## Guest

Eventually all mehs will be like this.


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## aleazk

Eventually, RW is going to transform in either Brahms or Wagner.


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## Richannes Wrahms

I doubt that .


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## aleazk

meh .


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## Richannes Wrahms

メ .


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## Xenakiboy

All of this important discussion was in vain :lol:


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## Richannes Wrahms

-5 points .


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## Guest

Xenakiboy said:


> All of this important discussion was in vain


I really like Limited Approximations, but if In Vain isn't floating your boat I'm not sure that will either.


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## Xenakiboy

dogen said:


> I really like Limited Approximations, but if In Vain isn't floating your boat I'm not sure that will either.


Did you get my reference or you trolling me?? I need answers, you're confusing me! :lol:


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## Guest

Xenakiboy said:


> Did you get my reference or you trolling me?? I need answers, you're confusing me! :lol:


I did, just wanted to put a work up the flag pole. :tiphat:


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## Xenakiboy

dogen said:


> I did, just wanted to put a work up the flag pole. :tiphat:


Thanks Dogen!! I feel better now :lol:


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## aleazk

Everything we do is in vain. Even RW.


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## Xenakiboy

aleazk said:


> Everything we do is in vain. Even RW.


Props to Aleazk but I'm finding it hard to breathe now


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## Pugg

Xenakiboy said:


> Props to Aleazk but I'm finding it hard to breathe now


You.....never...:lol:


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## Xenakiboy

Pugg said:


> You.....never...:lol:


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## Pugg

Xenakiboy said:


>


Okay.....thanks, will look at it in the future.


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## Dim7

aleazk said:


> Richannes Wrahms said:
> 
> 
> 
> meh (bis )
> 
> 
> 
> Yeah, meh to your meh. (meh)
Click to expand...

http://www.talkclassical.com/groups/talk-nonsense-d978-impress-richannes-wrahms.html#gmessage24162


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## PeterFromLA

Haas News:

Berlin, July, 08 2016. Ricordi Bühnen- und Musikverlag, Berlin, is pleased to announce a new publishing agreement with the internationally renowned composer Georg Friedrich Haas. In 2016 Ricordi Berlin will release three compositions: a work for choir and chamber orchestra called Three Pieces for Mollena, Haas' Ninth String Quartet and a concerto for trombone and orchestra. Several new works are scheduled for 2017, including an orchestra piece for Berliner Philharmoniker, a new violin concerto and an ensemble work for Ensemble Resonanz which will be played on the occasion of the opening of Elbphilharmonie, the new concert hall in Hamburg.

Born in 1953 in Graz, Austria, Georg Friedrich Haas is one of the most important composers of his generation and has received numerous composition awards and was honored with the Grand Austrian State Prize in 2007. Georg Friedrich Haas has been commissioned by Berlin Philharmonic, Cleveland Orchestra, Leipzig Gewandhausorchester and the Bavarian Symphony Orchestra. Perhaps his most frequently performed work is his ensemble piece in vain, which is in part performed in complete darkness. In the 2015/16 season his opera Morgen und Abend (Morning and Evening) was given at Royal Opera House, Covent Garden, and at the Deutsche Oper Berlin. Georg Friedrich Haas lives in New York, where he is Professor of Music at Columbia University. He also continues as a professor at the Universität für Musik und darstellende Kunst Graz.

http://www.ricordi.de/de-DE/News/2016/07/Ricordi-Georg-Friedrich-Haas.aspx


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## Guest

Newest Haas recording is his new trombone octet. Got it in the mail yesterday. It is good. Very good. The other 5 works on the box sound pretty top too.


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## Sina

nathanb said:


> Newest Haas recording is his new trombone octet. Got it in the mail yesterday. It is good. Very good. The other 5 works on the box sound pretty top too.


On what label? Any link to it?


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## ST4

Who wants more Georg Haas puns?


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## Pugg

Xenakiboy said:


>


Glad to see you back in disguises Josh.


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## Guest

Who is josh?


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## hpowders

ST4 said:


> Who wants more Georg Haas puns?


Not me! Haas-ta la vista, baby!


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## Bettina

hpowders said:


> Not me! Haas-ta la vista, baby!


By George, that's a good pun!


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## hpowders

Bettina said:


> By George, that's a good pun!


Heh! Heh! Thanks! Hope my words are never interpreted puniciously.


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## Bettina

hpowders said:


> Heh! Heh! Thanks! Hope my words are never interpreted puniciously.


Yeah, I hope nobody is Haas-tile to your puns.


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## hpowders

Bettina said:


> Yeah, I hope nobody is Haas-tile to your puns.


Nothing mahler-icious about any of them.


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## hpowders

Bettina said:


> Yeah, I hope nobody is Haas-tile to your puns.


As long as they aren't ******-able on TC, I will remain happy.


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## PeterFromLA

UK and World premieres of two recent Haas works: The Hyena and String Quartet No 10, the former written for his wife, the latter written for the Arditti Quartet. The program will be available for listening for 26 more days. http://www.bbc.co.uk/programmes/b0831957


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## jailhouse

Definitely could not listen to his wife speak for an hour. She is honestly extremely annoying (seen interviews etc).


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## seven four

jailhouse said:


> Definitely could not listen to his wife speak for an hour. She is honestly extremely annoying (seen interviews etc).


this is hilarious! :lol:


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## PeterFromLA

New Haas: "Release" for ensemble commissioned for and premiered at the opening of the Elbphilharmonie in January: 




The work has already begun at the time that the audience is entering the hall, but only two musicians are on stage at the time; the others are hidden from view. Over time the musicians come on stage, as well as the conductor, in a kind of reverse Farewell Symphony.


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## Janspe

Inspired by one of my favourite threads here at TC, the wonderful 21st Century Listening Chain, I decided to listen to Haas' _in vain_ all in one go - it's quite a long piece, over an hour!

I'm not sure what happened, but I was _so_ moved by this piece... It was 60+ minutes of luminous sounds, interesting textures and deeply felt expression. I must hear it again soon! What a wonderful time this is to be alive, with so many interesting things happening in music everywhere. I warmly recommend this piece to everyone, whilst realizing that Haas is a composer I simply must get to know better.


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## tortkis

New Focus Recordings released Haas' Trois Hommages, an early work composed in 1982-1984, dedicated to Ligeti, Hauer and Reich. Two pianos tuned a quarter tone apart are played by one pianist. It is hard-core minimalism, creating unusual sound of overtones by repeating same notes persistently. I was reminded of Palestine's strumming music (Haas' work was composed earlier.) A mesmerizing work.

http://www.newfocusrecordings.com/catalogue/georg-friedrich-haas-trois-hommages/

No. 1 Hommage à György Ligeti, by Mabel Kwan


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