Georg Friedrich Haas – Limited Approximations (2010)

for 6 micro-tonally tuned pianos and orchestra (2010)

Played by: Akiko Okabe, Pi-Hsien Chen, Christoph Grund, Florian Hoelscher, Julia Vogelsänger & Sven Thomas Kiebler – Piano

SWR-Sinfonieorchester Baden-Baden und Freiburg
Conducted by Sylvain Cambreling

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. [source]

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Georg Friedrich Haas – In Vain (1st Dark Section) (2002)

Georg Friedrich Haas: In Vain (1st Dark Section)

Georg Friedrich Haas (born 16 August 1953 in Graz, Austria) is an Austrian composer of spectral music. [source]

Composition for 24 Instruments
Album: In Vain
Released on Kairos Records
Composed by: Georg Friedrich Haas
Performed by: Klangforum Wien Ensemble
Conductor: Sylvain Cambreling
Genre: Classical
Style: Avantgarde, Microtonal

This composition has been conceived to be performed in a specific light environment of the concert hall, changing gradually as the movements of the composition unfold. This is the first dark section, after the opening movement in which the lights are gradually turned down signaling a shift in the atmosphere while the instruments abandon equal-tempered tuning and follow the overtone series. The section is primarily comprised of a series of duos (one string instrument and one wind instrument), whose entrances are overlapped and chained together. The duos begin on a unison pitch, but the string instrument immediately slides the pitch up or down by a half step, concurrently overtaking the corresponding woodwind in volume. This section is performed in complete darkness as the performers have memorized the score. As this section reaches its ending the concert hall lightning gradually increases while the piece continues to the next movement.
There are two dark sections on the entire composition while the first (this one) is meant to be played in complete darkness, the second dark section is played in dark while there are strobes of flashing light through its duration.
Dark Sections:
First Dark Section: 5’30″
First Dark Section Ends: 11’02″
Second Dark Section: 42’15″
Strobe Flashes Begin: 48’20″
Second Dark Section Ends: 56’35″

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