Haas in 2014

Georg Friedrich Haas (born 16 August 1953 in Graz, Austria) is an Austrian composer. In a 2017 Classic Voice poll of the greatest works of art music since 2000, pieces by Haas received the most votes (49), and his composition in vain (2000) topped the list.[1]

Education and career

Georg Friedrich Haas grew up in Tschagguns, Vorarlberg and studied composition with Gösta Neuwirth and Iván Erőd and piano with Doris Wolf at the University of Music and Performing Arts Graz, Austria. Since 1978, he has been teaching at the Hochschule as an instructor, and since 1989 as an associate professor in counterpoint, contemporary composition techniques, analysis, and introduction to microtonal music. Haas is a founding member of the Graz composers' collective Die andere Seite.

Haas completed two years of postgraduate studies at the University of Music and Performing Arts Vienna with Friedrich Cerha, participated in the Darmstädter Ferienkurse (1980, 1988 and 1990), and the computer music course at IRCAM (1991). He received a fellowship from the Salzburg Festival (1992–93), was awarded the Sandoz Prize (1992) and a music grant from the National Ministry of Science, Research, and Culture (1995). His works have been on the programs of the following festivals: Wien Modern (Vienna), Musikprotokoll (Graz), Witten, Huddersfield, Royaumont, Venice Biennale, Festival d'Automne (Paris), as well as at the Darmstädter Ferienkurse and the Salzburg Festival 2011. Since 2005, he has lectured at the Hochschule in Basel, Switzerland; since 2013, he has been a professor of composition at Columbia University, New York.

Career

Haas's 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").[2] Thus Haas has disavowed the intellectualism of some strands of the modernist musical avant-garde (such as serialism and deconstructivism). The emotional atmosphere of many of his works is sombre.[3] Haas's operas have been criticized for evoking themes like suffering, illness and death to aesthetic voyeurism: "the piece [Haas's opera Thomas (2013)] comes dangerously close to a kind of palliative care ward tourism."[4]

In a similar vein, his orchestral works have been compared to film music: "[Dark dreams for symphony orchestra] lets us think of a soundtrack ready-made for a suspense movie" ("lässt aber auch an einen probaten Soundtrack zum Suspense-Streifen denken").[5]

Haas's opera Morgen und Abend, to a libretto by the Norwegian writer Jon Fosse, was jointly commissioned by the Royal Opera House, London, and the Deutsche Oper Berlin. It was premiered on the main stage of the Royal Opera House on 13 November 2015.

Personal life

Haas is the dominant partner in a BDSM kink relationship with his wife, the American writer, BDSM educator, and actor Mollena Williams-Haas.[6] In 2016, The New York Times published an article about his BDSM relationship with his wife.[7]

Writings and compositions

Haas has published musicological articles on the works of Luigi Nono, Ivan Wyschnegradsky, Alois Hába, Pierre Boulez, and Franz Schubert, among which:

Operas

Other works

References

  1. ^ "A music referendum". Ricordi. Retrieved 2 December 2019.
  2. ^ Georg Friedrich Haas, 'These shadows of memory'. Über das Finale des ersten Abschnitts meiner Oper die schöne Wunde, in Andreas Dorschel (ed.), Resonanzen. Vom Erinnern in der Musik (Vienna – London – New York: Universal Edition, 2007) (Studien zur Wertungsforschung 47), pp. 197–204, p. 203
  3. ^ Alex Ross (29 November 2010). "Darkness Audible". Retrieved 24 January 2011.
  4. ^ Shirley Apthorp, 'Première of Georg Friedrich Haas, Thomas, Schwetzingen Festival, Germany', Financial Times (Europe), Tues. 28 May 2013, p. 13
  5. ^ Stefan Musil, 'Musikverein: So dunkel sind die Träume nicht', Die Presse (Vienna), Sun. 9 March 2014, p. 43
  6. ^ Woolfe, Zachary (23 February 2016). "A Composer and His Wife: Creativity Through Kink". The New York Times – via NYTimes.com.
  7. ^ Zachary Woolfe (24 February 2016). "A Composer and His Wife: Creativity Through Kink - The New York Times". The New York Times. Retrieved 30 April 2020.
  8. ^ Musik Fest Hamburg, page for premiere of Bluthaus revision Archived 2 June 2014 at the Wayback Machine

Further reading

External links

  1. ^ "Pfau Verlag. Artikelinfo [27372]". www.pfau-verlag.de. Retrieved 1 August 2022.
  2. ^ Haas, Georg Friedrich (1 June 1999). "Mikrotonalitäten als Kompositionselement". Österreichische Musikzeitschrift (in German). 54 (6): 9–15. doi:10.7767/omz.1999.54.6.9. ISSN 2307-2970. S2CID 163605813.
  3. ^ "Klangweg: Georg Friedrich Haas". Österreichische Musikzeitschrift (in German). 58 (10): 20–25. 1 October 2003. doi:10.7767/omz.2003.58.10.20. ISSN 2307-2970.
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