Our privacy policy was last updated on Friday 25 May 2018View it hereDismiss
Bachtrack logo
Flag of Austria

Composer: Haas, Georg Friedrich (b. 1953)

Fact file
Year of birth1953
NationalityAustria
PeriodContemporary
February 2019
MonTueWedThuFriSatSun
28293031010203
04050607080910
11121314151617
18192021222324
25262728010203
04050607080910
Evening performance
Matinee performance
Upcoming eventsSee more...

ValenciaOrquesta de Valencia

Orquesta de Valencia
Haas, Ravel, Mendelssohn
Orquesta de Valencia; Alexander Liebreich; Varvara Nepomnyashchaya

Bern10. Kammermusik: Konus Quartett

Pousseur, Ligeti, Donatoni, Haas, Szlavnics
Konus Quartet; Christian Kobi; Fabio Oehrli; Jonas Tschanz

DijonKoma

Haas: Koma
Bas Wiegas; Immo Karaman; Opéra de Dijon; Nicola Reichert; Ruth Weber; Stefan Zenkl

CologneTrio Catch

Fauré, Djordjevic, Urquiza, Prokofiev, Haas
Julia Pusker; Tianwa Yang; Máté Szücs; Trio Catch

BogotáCuarteto Prism, cuarteto de saxofones (Estados Unidos)

Ter Veldhuis, Etezady, O'Halloran, Levy, Daugherty, Haas
PRISM Quartet
Latest reviewsSee more...

Prom 21: An Alpensinfonie for the whole family

Ilan Volkov © Astrid Ackermann
Ilan Volkov conducts the BBC Scottish Symphony Orchestra in an attractive account of Strauss' mighty Alpine Symphony.
****1
Read more

Restless commemoration from Benjamin and London Sinfonietta

George Benjamin and the London Sinfonietta © BBC/Chris Christodoulou
A programme of new music and 20th-century classics reflects on loss, war, inhumanity and redemption. 
*****
Read more

A microtonal affair from London Sinfonietta

Andrew Gourlay conducts the London Sinfonietta © BBC | Chris Christodoulou
Fantastic performances can't quite elevate a disconnected audio-visual experience
***11
Read more

A meditation on Life and Death in Berlin

Klaus Maria Brandauer (Olai) © Marcus Lieberenz
Deutsche Oper Berlin performed an intensely focussed opera on the birth and death of one man based on Jon Fosse's novel – a memorable and moving contemplation on life.
***11
Read more

An atmospheric meditation on birth and death

Klaus Maria Brandauer (Olai) © ROH | Clive Barda
A threadbare staging from Graham Vick allows Haas’ innovative score to shine. Drama is modest, but complements sophisticated music to project an impressively unified vision.
****1
Read more
Biography

You can read our October 2013 interview with Georg Friedrich Haas here.

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 appreciation unstintingly. 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, which has its UK première later this year, 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”.

The Cello Concerto, just as Wer, wenn ich schriee, hörte mich ..., 1999, for percussion and ensemble, reflects Haas’ 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 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.