Courtesy of Universal Edition/Eric Marinitsch ©
Haas Georg Friedrich
- Compositions
- General Information
- Education
- Activities
- Performances (Selection)
- Commissions (Selection)
- Awards
- Press Reviews
- Discography, Projects
- Teacher of (Person)
- Performer of (Composition)
- Librettist of (Composition)
- Contact, Links
Compositions
General Information
Georg Friedrich Haas - born 1953 in Graz - grew up in Tschagguns (Vorarlberg). Early in his student days, he took a short detour into the natural sciences, before he finally turned to a musical career in the form of a study at the University of Music and Dramatic Arts in Graz. After completing his studies and postgraduate training in Graz and Vienna, he attended the Darmstadt Summer Courses for New Music (among others with Gérard Grisey) and the Stage d'Informatique Musicale pour Compositeurs at the IRCAM in Paris. At the same time he received lecturing assignments at the University of Graz, where he first taught as a lecturer, later as a professor. In 1997, he took a sabbatical to devote himself entirely to his compositional work. After visits to Fischbach/Styria, the southwest coast of Ireland, and Berlin as part of the fellowship of the German Academic Exchange Service, Haas began teaching in Graz again in 2002. Since 2005, he also teaches a composition class at the Academy in Basel, where he currently also lives.
Education
| Period | Education | Instrument | Teacher | Education Organisation | Location |
|---|---|---|---|---|---|
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1972 - 1979
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1972 - 1979
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music education | ||||
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1972 - 1979
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music theory, electro-acoustics, composition (Göstha Neuwirth, Ivan Eröd) | ||||
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1988
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participation / Teilnahme (weitere Teilnahme in 1988 und 1990) | ||||
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1981 - 1983
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post-graduate studies in composition | ||||
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1991
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Stage d'Informatique Musicale pour Compositeurs |
Activities
| Period | Activity | Organisation | Location |
|---|---|---|---|
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1982 - 1987
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Musikgymnasium Graz, Expositur Oberschützen, Graz and Oberschützen: teacher (music theory) | ||
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1988
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programme management | ||
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1989
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teaching, at first as an assistant, later with a professorship (last for counter point, composition techniques, analysis of works and introduction to microtonal music) | ||
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1991 - 1994
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programme management and festival director | ||
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1993
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programming of "Lange Nacht der neuen Klänge" | ||
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2004
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lecturer | ||
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2005
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teacher of a composition class | ||
|
2011
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member of the Austrian Art Senate |
Performances (Selection)
| Period | Performance | Composition | Organisation | Location |
|---|---|---|---|---|
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1992
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1994
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1994
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1995
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1996
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1996
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1997
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Akiyoshidai Festival | |||
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1999
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1999
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2000
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portrait concert | |||
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2000
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Festival Internacional de Musica Contemporanea | |||
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2000
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Zeitlos Festival | |||
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2001
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2001
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2002
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2002
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2003
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Centro Cultural Universitario | |||
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2003
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2004
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2004
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2004
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2005
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2005
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Suntory Summer Festival | |||
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2005
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2006
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2006
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2006
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2006
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Festival "European Crossings" | |||
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2007
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2007
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2008
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2008
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2009
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2010
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2010
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2011
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Premiere | |||
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2013
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focus "Georg Friedrich Haas: Denken im Klang" | |||
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regular performances | ||||
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regular performances | ||||
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regular performances | ||||
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regular performances | ||||
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regular performances | ||||
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regular performances |
Commissions (Selection)
| Period | Commission | Composition | Commissioner (Organisation) | Commissioner (Person) |
|---|---|---|---|---|
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1980
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1993
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1995
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1997
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1997
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1998
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1998
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1999
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1999
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1999
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Friends of the National Theatre | |||
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1999
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2000
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2000
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2000
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2003
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Styrian Academy Graz | |||
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2003
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2003
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for the Donaueschingen Musiktage | |||
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2004
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2004
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International Music Contest of the ARD | |||
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2005
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Alpinarium Galtür in cooperation with regional exhibition 2005 | |||
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2005
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2005
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2005
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2006
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2007
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City of Munich | |||
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2007
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2008
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2009
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Essen Philharmonics | |||
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2009
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2009
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musikFabrik | |||
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2009
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2010
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2010
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2010
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ensemble recherche | |||
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2011
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Project "Escalier du Chant" by Olaf Nicolai at the Pinakothek der Moderne Munich | |||
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2011
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2011
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Project "Escalier du Chant" by Olaf Nicolai at the Pinakothek der Moderne Munich | |||
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2011
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2011
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2011
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Awards
| Period | Award | Composition | Awarding Organisation |
|---|---|---|---|
|
1977
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promotional award | ||
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1977
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state scholarship for composition | ||
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1979
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recognition award | ||
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1992
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Sandoz prize | ||
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1992
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scholarship | ||
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1995
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promotional award | ||
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1998
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Ernst Krenek Award | ||
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1999
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scholarship, one year stay in Berlin | ||
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2000
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International Rostrum of Composers | ||
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2001
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composer in residence | ||
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2004
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Andrzej Dobrowolski award for composition | ||
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2004
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music award | ||
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2004
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composer in residence | ||
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2005
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German Record Critics' Award: Prize for the CD recording of the first and second string quartet by the Kairosquartet | ||
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2005
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composer in residence | ||
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2006
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composer in residence | ||
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2007
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Grand State Prize of Austria | ||
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2011
|
composer in residence | ||
|
2013
|
music award |
Press Reviews
2000
Georg Friedrich Haas, born in 1953 in Graz, proves that a cleverly selected system does not necessarily create a murky brew out of microtones, but can conjure up bright colours.
Die Zeit (Frank Hilberg)
6. March 2002
All works, even one's own ones, are focused on the sensuous aspects of sound. This is what music should be about anyway, but these aspects were put aside in post-war contemporary music. Haas antagonises this trend.
Süddeutsche Zeitung (Reinhard Schulz)
2003
Nevertheless, the performance was a success. This was due to the music and its grand adaptation by the Klangforum Wien and the vocal ensemble NOVA, conducted by Sylvain Cambreling. Has was able to focus the music in a fascinating way, tighten it to maelstrom-like, collective sequences. In his works, Haas worked a lot with the different aspects of micro-tonality and he possesses a tremendously broad spectrum of suggestive sound possibilities.
Neue Musikzeitung (Reinhard Schulz)
2006
A highlight at this year's Donaueschingen Musiktage was the world premiere of Georg Friedrich Haas' "Hyperion", a concerto for light and orchestra in midst a spectacular installation for light and space by the Stuttgart artist Rosalie.
Universal Edition Newsletter 01/07
15. March 2007
His music creates enigmatic sound worlds of glistening sensuality. And while his operas circle around Hölderlin, Kafka and Poe and explore existential questions, they still keep something like a utopian potential. The fact that Georg Friedrich Haas' compositions appeal immediately, is not just a result of his subtle sensorium employed to bring experiences from early music to fruition for modern music. The colourfulness of his scores is due to harmonic structures deriving from natural overtone series "finishing the composition" in the acoustic resonance conditions - with glittering, demanding result.
Der Standard
2. May 2011
Exact tonalities, long melodic developments find their place in the kaleidoscope of strangeness, in which the trumpet of the Last Judgement is more than a shallow quote. The premiere at the Schwetzingen Festival (...) was oppressively impressive. (...) Disturbing emphatic approval.
FAZ
2. May 2011
The orchestral genius of the composer Haas masters the art of captivating the audience for an evening, and overwhelming them at the end. [...] Georg Friedrich Haas [...] is a master of instrumental sound in voluptous depth and width. Haas has devoted himself to the innermost parts of sounds. "Bluthaus" fascinates in the richest possible spectrums of overtones with sparkling colors and gestures, which he welded into roaring sound engines.
Süddeutsche Zeitung
