Last winter, Georg Friedrich Haas mentioned to me that the composer Arash Yazdani, a former student of his and a friend of mine, had given him a word he’d been looking for his entire career. That term is “plasmatic music.” I’ll let the two artists define the term in the correspondence below, which covers that […]
Author Archives: Georg Friedrich Haas
Posted inEssay
The Last Romantic
“Guero” for piano Soft, almost imperceptible sounds for minutes. In concert, the work has a paradoxical effect: What we see is the traditional virtuoso performance situation. What we hear is a microcosm of perforated percussion sounds in quadruple pianissimo. And then, at the very end: Two different strings in the high register are softly plucked. […]
Posted inOpinion
The Case for a New Music Theater
I. “You Want to Stop Listening” 1996, Bregenz Festival. The semi-staged world premiere of my opera “Nacht” on texts by Friedrich Hölderlin. The journalist Reinhard Kager predicted that the work would have a great future. Looking back, I understand why. Thanks to the spare scenic means (different plot strands were illuminated using different kinds of […]
Posted inEssay
Strange Dissonance
Goethe’s “Erlkönig” is one of the most horrifying poems in all of world literature. At its center is an unspeakable tragedy, the death of a child. Also shocking is the language of the poem: it omits any description of the boy’s suffering. The very objectivity of Goethe’s language is chilling. In Schubert’s setting of “Erlkönig,” […]