We make our Cafe Oto debut in an evening prefaced by Lee Hyla’s raucous duet We Speak Etruscan (for baritone saxophone and bass clarinet). That piece is followed by sets where the Alexander Hawkins & Evan Parker Duo, and ENEMY each perform with Riot Ensemble musicians in PRS-funded commissions that blend notation, improvisation, and electronics.
We make our Birmingham debut in an evening prefaced by Lee Hyla’s raucous duet We Speak Etruscan (for baritone saxophone and bass clarinet). That piece is followed by sets where the Alexander Hawkins & Evan Parker Duo, and ENEMY each perform with Riot Ensemble musicians in PRS-funded commissions that blend notation, improvisation, and electronics.
We are delighted to be bringing an all-Canadian portrait concert to the Spitalfields Winter Festival, featuring music by Christopher Mayo, Richard Reed Parry, and Nicole Lizée. Canada is the home of some of the world’s most exciting new music right now, so it is a real thrill for us to be able to perform these three composers.
Lizée’s Black MIDI was written for the Kronos Quartet and the Toronto Symphony Orchestra, but we will be presenting it here in a new version for ensemble, alongside Mayo’s Beast (for Hugo Ball) and Reed Parry’s Music for Heart and Breath.
Tim Rutherford-Johnson: Let’s begin with the piece of yours we are going to play, Black MIDI. Where did you first encounter black MIDI music? What drew you to it particularly, and what compositional potential did you sense it had for you?
Nicole Lizée: I came across it maybe three or four years ago – probably in a software forum (nerd alert). I was drawn to its beauty, audacity, and mysticism – and because it is so esoteric. It is limited as a genre as it’s really just one thing: the process of entering thousands of notes with the sole goal of crashing one’s system. Its limitations made it perfect to create a new work from. There are so many unknowns about it – and my mind started looking to the darkness and spirituality of it, even if it doesn’t actually exist. It’s also rooted in malfunction, which is always exciting to me.
TR-J: Did that sense of its potential change in the course of your composing?
As I was writing the piece I began to completely immerse myself in interpreting the genre in my own way and sort of transforming it beyond any sonic or visual preconceptions. It quickly evolved into an idea of designing a TV series or a documentary fictionalizing Black MIDI. Creating scenarios and writing scripts – completely fabricating the social, cultural, and possibly spiritual, implications.
TR-J: One of the most interesting aspects of your piece, I think, is that it goes beyond a, let’s say, ethnographic study of the black MIDI phenomenon (analogous to Bartók and his folk tunes, for example), and extrapolates a whole narrative scenario in which a mysterious ‘black MIDI’ plays a central role. What process led you in this direction? When did you decide to include film alongside the music, for example?
I knew right away it was going to be a multimedia piece – I wanted to tap into the visual iconography inherent in the genre. The appearance of black MIDI is distinctive and immediate and I wanted to play with the semantics of it, in tandem with the sonics.
The integrating of visuals with a music score – where the two completely coexist – is something I’ve been developing for a while. I’m looking to bring film/video/animation into concert music, where it doesn’t exist passively or as eye candy, but is integral to the work and is treated like an instrument itself. I look at this piece as Season 1 of Black MIDI – and imagine subsequent seasons, with the characters continuing their experiences with black MIDI.
TR-J: Much of your work engages with audio technology pushed to or beyond its breaking point – creating glitches and other similar phenomena. Could you start by describing what is the fascination for you of such sounds, on both a sonic and a semantic level?
This fascination began when I was young. My father is an electronics repairman, salesman, collector – he’s been a kind of beta tester for electronic devices since the 1960s – so I was born into a house of machines, most of which were malfunctioning. He never throws anything away, even if it doesn’t work properly. But, as opposed to digital, which generally just dies, analogue machines continue to work; just not in the way in which they were intended to. So these machines – and their damaged sounds and visuals – became my instruments, alongside the acoustic ones. It feels natural for me to include these sounds within an ensemble and notate for them, treating them as instruments; and also allowing them to affect the acoustic writing.
I refer to this state as the purgatory for technology. When machines or media stop functioning the way they’re supposed to for the consumer, they’re no longer useful. So they begin their new life. It’s a type of freedom. Sometimes they do die in a way – they end up in junkyards and landfills or tossed aside and forgotten, in favour of the digital device.
There’s also a darkness to pushing technology beyond its limits – the unknown. This in turn affects the way I write for live musicians, in terms of emulating glitch and malfunction and the extreme precision and minutiae that goes with it. I often treat the score like a schematic, looking for ways to rewire or circuit bend it. There’s also the process of transcription of the glitches – which I’ve spent a whole lot of time doing. Scrubbing, zooming in, and transcribing my findings – without ever quantizing – is a way to delve into sound and illuminate hidden gestures, rhythms, artefacts, and so on.
TR-J: Are you a techno-optimist or a techno-pessimist?
Both I think. It’s an exciting time for tech. But it’s also a frightening one. Certainly in terms of privacy, big data, and the notion that data and information don’t actually exist and could disappear at any time. If I think about this from an artistic perspective – in terms of music and books/print, for example – I become an optimist. This may mean we go back to analogue. I recognize the environmental advantage and convenience to books and music as downloads only – but I think people are losing sight of the impermanence of digital archiving and how fleeting it is on larger timescales. When the grid goes down we lose everything. But we can still read sheet music at a piano or hand crank a Victrola to listen to a record.
But the problem with analogue is that people don’t know how to fix these devices anymore – and the people who do aren’t going to be around for that much longer. The art of technology repair is dead and it is more cost effective to just ‘throw it away and buy a new one’ rather than fix it. This is where I become pessimistic.
I see massive potential in technologies like VR. This is a way for people to experience art in new ways and to experience different types of art when it is not immediately at their disposal. This is something to think about now that we are in the age of post-recording. I think people still want to buy recordings – I know I do – but I think maybe they want to buy experiences.
I become a bit of a pessimist when I think about the problem of not knowing what is actual fact. While the internet and its vast wealth of information is nothing short of incredible – the source of the information could be from anywhere – it’s a bit out of control, and there are factual errors everywhere.
TR-J: Many composers I have spoken to have a somewhat relaxed attitude to the obligations and expectations of European or US musical tradition. Linda Catlin Smith, for example, says that one of nice things about being Canadian is that ‘you don’t feel examined’. Is this something you recognise? And, like Linda, do you find this liberating?
I think that expectations do exist but I can say that I’ve never tried to adhere to any. I’ve always found this resistance to ‘obligations’ and ‘procedure’ extremely important and integral to being an artist, even from a young age. As soon as something became trendy or derivative I would abandon it and look for something creative and inspired.
I’ve read analyses of my music that mention my escaping McGill University without ever having written spectral music. There were certainly expectations in the 1990s during my time at McGill. It was very rooted in the European tradition. I, of course, respected it from a historical perspective but in no way was I interested in devoting my time and energy to something that had already been done. I kept completely true to what I had set out to do, even though it came with a certain amount of obstacles. My thesis was a work for turntables and orchestra – with every aspect of the turntable part notated, as well as every vinyl excerpt determined and notated. This was not immediately embraced in the university at the time – in fact it divided the faculty. But I believed in it and that was everything. It still is.
Portrait of Nicole Lizée (c) 2014 Steve Raegele; broken cassette image by Redfishingboat on Flickr.
We are looking forward very much to playing at the Spitalfields Winter Festival next month, and happier still to be returning to the music of Christopher Mayo, which we will be performing in an all-Canadian programme alongside Nicole Lizée’s Black MIDI and Richard Reed Parry’s Music for Heart and Breath. Mayo’s extraordinary Youngblood II for five bassoons (yes!) was featured in one of the group’s earliest concerts, back in 2014. For our Spitalfields concert we will be playing his Beast (for Hugo Ball), a wonderfully eccentric ‘setting’ of a poem by the Canadian sound poet bpNichol.
Tim Rutherford-Johnson: When we last interviewed you, you said that you had ‘a mild to an intense dislike of the focus which we as composers and teachers place on the craft of being a composer’ and that this was central to your way of thinking. Could you elaborate on what you meant by that? And is this still the case?
Christopher Mayo: I think, even then, this wasn’t exactly what I meant. I think composers and teachers rightly have to focus on craft, whether of the more mundane variety such as typesetting and notation or the slightly more artistic side such as orchestration, structure, and so on. What I meant really was that I dislike the focus which audiences have on the craft of being a composer, the underlying point being, I suppose, that audiences are so often made up primarily of other composers.
‘Great piece: well orchestrated, idiomatically written for the instruments, logically structured, well-paced, immaculate harmony’ – I’m not sure that any of these things really make a great piece. Actually, I’m sure that they don’t! A well-crafted piece can be successful, but I don’t know that it’s the craft that makes it successful – it can facilitate success, but I think a lack of craft can sometimes be an equal facilitator of interesting music. What I want to get away from is locating our value judgements of music solely in the realm of how – and how well – it is written.
TR-J: Back then you were still based in London; now you are back home in Canada – and Toronto specifically. What do you see as the main differences between the Canadian and UK new music scenes? How do you think the two different settings have influenced your own music?
CM: I’m not sure that in general the differences are so vast, but I think that in London, I was part of – maybe only adjacently and reluctantly – a music scene that doesn’t exist in Canada, and I think possibly exists less end less in the UK. I’m talking about the conservatoire to publisher trajectory that, at least in 2003 when I came to the UK, still seemed to be the prevalent mode of viewing one’s ideal career path among my colleagues at the Royal College of Music. And I think that arc, with all the expected stops along the way, has structural limitations that dictate the way one’s music progresses even more than might seem apparent from the outside. Though I might not have admitted to it at the time, I totally bought into this idea of how a composer’s career should look, and I think trying to fit into this world had an influence on my music that I wasn’t fully aware of.
With the Camberwell Composers’ Collective (with Mark Bowden, Emily Hall, Anna Meredith, and Charlie Piper) I think we felt we were trying to operate outside of this world. But when Tom Service cited the collective in a lecture in Aberdeen in 2010 as a group that was forging a new way to work outside of this conventional career arc of conservatoire to publisher (that wasn’t exactly how he put it), he was rebuked for omitting to say that we were all conservatoire graduates, and variously RPS prize winners, attendees of the Britten-Pears programme, LSO Panufnik participants, and so on. We were never quite as far outside this world as we pretended, though certainly we are now, to varying degrees.
This is a very circuitous way of saying, we don’t have this scene because we don’t have these institutions in Canada. There are a few conservatoires, but they are not where the majority of composers study, some of them don’t even offer composition. There are no publishers championing the careers of composers. And so we also don’t feel the restrictions which following this arc can sometimes place on people.
In the UK, of course, this career path that I’m describing is only a fractional part of the new music scene, and its pre-eminence seems to be diminishing. Maybe it was never quite as prominent as it seemed to me as an inexperienced Canadian composer arriving at the Royal College.
TR-J: What would you say are the defining qualities of the new music community in Canada? What particular roles (if any) do you consider are played by factors such as landscape, climate, culture, the sheer size of the country, and so on?
CM: Openness. I’m not going to be so naive as to suggest that this stems from any kind of cultural, political openness, because Canada is not immune from the swing to right which seems to be sweeping the world. But aesthetically, I really feel like Canada is a place where anything is welcome.
TR-J: Beast (for Hugo Ball) is a setting of a poem by bpNichol dedicated to the founder of Dada and the original sound poet. Could you tell us what significance both Ball’s and Nichol’s work has for you?
CM: This was the second piece I wrote based on the work of bpNichol (I’ve since written a third that will probably be my last, at least for the time being). He’s a fairly legendary figure in Toronto – there’s a ‘bpNichol Lane’ in Toronto which has one of his poems set into the concrete of the pavement. Hugo Ball, I’m not too embarrassed to admit, I’d never heard of before working on this piece. I’d seen the photos of him in his Karawane costume and I knew about the Cabaret Voltaire, but his name wasn’t familiar to me. I spent a lot of time researching him for this piece and read his memoir Flight Out of Time: A Dada Diary and his novel Flametti, or The Dandyism of the Poor. He was a very compelling, deeply serious character. There were several quotations from his memoir that had a direct influence on my piece; the one that comes to mind is his discussion of industrialization:
The modern necrophilia. Belief in matter is a belief in death. The triumph of this kind of religion is a terrible aberration. The machine gives a kind of sham life to dead matter. It moves matter. It is a specter. It joins matter together, and in so doing reveals some kind of rationalism. Thus it is death, working systematically, counterfeiting life. It tells more flagrant lies than any newspaper it prints. And what is more, in its continuous subconscious influence it destroys human rhythm. Anyone who lasts a lifetime near such a machine must be a hero, or must be crushed. We cannot expect any spontaneous feelings from such a creature. A walk through a prison cannot be so horrifying as a walk through the noisy workshop of a modern printing shop. The animal sounds, the stinking liquids. All the senses focused on what is bestial, monstrous and yet unreal.
On a surface level, this quotation led me to include a transcription of the sounds of a printing press in the percussion at the beginning of the piece, but on a deeper level, this idea of giving ‘sham life to dead matter’, ‘counterfeiting life’, those ideas became central to my own conception of what I was trying to achieve in the piece in incorporating a recording of bpNichol performing the poem.
TR-J: Rather unusually, your ‘setting’ uses a recording of Nichol performing his text, rather than a live speaker or singer. I’m interested in what particular qualities of Nichol’s performance attracted you, and what impact did it have on your subsequent compositional approach?
CM: The thinking I mention above of ‘counterfeiting life’ came later in the process, my initial interest in using a recording of bpNichol rather than setting the text more traditionally came from a desire to engage with all the peculiarities of tempo and pitch in bpNichol’s original recording. His performance is extremely free in all parameters and trying to match and counterpoint these wild shifts was the compositional problem to which I had to find engaging solutions.
TR-J: Finally, my favourite description of Canadian music is Martin Arnold’s, who describes an aesthetic of ‘slack’ – a sort of looseness towards tradition, precision and those European qualities of craft to which you refer. Is this something you recognize in your own music – in your approach to setting Nichol’s recording, for example – and if so, what does it mean to you? And, conversely, what are the areas of precision or formality in your work?
CM: I love this description of Martin’s, I think it’s so apt. It’s funny, in this piece, the music ends up needing to be exceedingly precise in order to match the ‘slack’ that already exists in the bpNichol recording. So there is a lot of ‘slack’ there, but I can’t really own it. It’s like stolen valour; this is stolen ‘slack’! In all my works, there is a level of precision in notation and structure and harmony that’s far from ‘slack’, but I still feel this looseness. My work has a precision that nevertheless achieves a certain amount of awkwardness, grit – aims for awkwardness even. I’m never looking for elegant solutions. I prize a bad idea far over a good one. I love it when someone tells me an idea they’ve had for a piece and it just seems like an astonishingly terrible, completely unworkable idea. That’s the piece I want to hear, the one that makes something good and compelling out of something that seems unassailably atrocious.
The world premiere of the new piece will take place in Iceland in the middle of winter. So naturally, in his first conversation, Tim asked Haas about an element that has been important to his work for many years: darkness.
Tim Rutherford-Johnson: When did you start to think about using darkness in your work? What was the inspiration?
Georg Friedrich Haas: The first time I composed darkness was in my short opera Adolf Wölfli, which I wrote in 1981. Wölfli was an amazing painter, who lived in the first third of the twentieth century. He was mentally ill, and in addition to his paintings he wrote terrible, dark texts. These texts are mostly about the impossibility of grace and forgiveness. At the opera’s end it should be completely dark – only flashes of light direct the orchestra. The singer quotes the Holy Bible: ‘Fear not: for, behold, I bring you good tidings of great joy’ – repeated several times again and again to make it clear that this ‘great joy’ will never happen. Never.
The stage director, a third class loyal citizen of the communistic German Democratic Republic, ignored and destroyed these ideas. He called me a ‘dilettante’ – and unfortunately I believed him to be right. Eighteen years later I met the German stage director Bettina Wackernagel. We never had the chance to work together, but she explained to me that these ideas of mine were very dramatic and intense. I had just been working on in vain. I decided to compose darkness within this piece. It worked.
TRJ: What does darkness symbolize for you? What is its role in your music?
GFH: What does the sound of a violin’s string symbolize in my music? What does a C sharp symbolize? They symbolize nothing. They are musical means, musical media, which can be used for any expression. It depends on the surroundings, on the musical grammar and musical logic before and after this musical element.
TRJ: Has that role changed, or its symbolism developed? I’m thinking of, for example, the different meanings of darkness in your third string quartet (the Holy Week Tenebrae service) and in vain (the return of fascism to European politics). In what ways does darkness continue to excite you as an idea? What other themes might be explored through it?
GFH: The darkness of in vain does not symbolize fascism. I am not able and not willing to write a music that could symbolize this. The dark moments in in vain may symbolize my fear and my desperation regarding the upcoming of a new fascism. But in these dark elements I also compose the utopia of a music that can only be performed by musicians who possess a high level of responsibility. Who completely trust their individual musical imaginations. And who do not need any director or conductor to create their sounds. The darkness in my opera die schöne Wunde and in my piece wohin bist du gegangen? symbolizes erotic despair. The darkness in my opera KOMA symbolizes the world of a patient in a hospital, being in a coma.
In my Ninth and Tenth String Quartets – and in the new piece for the Riot Ensemble – the darkness does not have any meaning. It is just a musical medium. I hope it is a beautiful one.
TRJ: Writing for performers to play in the dark, and from memory, is obviously very challenging. What techniques have you developed to help you achieve this?
GFH: There are no ‘techniques’. I just have to describe the musical units as plainly as possible.
TRJ: This has been an interest in your work for several years now, so presumably it has unlocked something valuable for you compositionally. I wonder if you could describe this: are there particular ideas, ways of working, musical forms and so on that you couldn’t have discovered without setting up these challenges?
GFH: In my Third String Quartet I composed social procedures: I asked the musicians to perform ‘invitations’. If these invitations are accepted by at least one other musician, a (verbally notated) musical development is to be performed. There are also some additional formal instructions.
Within my Ninth and Tenth String Quartets the musicians also play ‘games’ – a system of clearly defined rules about how to ‘fight’ against one the other. This is fun for the musicians and the result is a music that reflects this verve.
In the Ninth String Quartet I also ask the musicians to find very precise microtonal tunings. The process of searching for and finding these harmonies creates the music.
TRJ: What role does memory play too? In what ways are you able to exploit your players’ ability to remember things (and forget them …)?
Performing music always involves memory. The musicians have to remember what they developed within the rehearsals (or what they practised alone). The only difference when performing in darkness is that you do not have any visual help to support your memory. No score to look at. No conductor to follow.
TRJ: Finally, are you able to reveal any details about the piece you are writing for us?
To compose music requires me to think within the music, within the sounds, within the time. I must not use words for it during the process of composing. Words disturb the musical imagination. Therefore I generally refuse to write or say anything about a piece before my work is finished.
Among the latter – if not for this piece, for his music in general – is the music of the past. For this second interview, Tim focused on this side of Haas’s music, and in particular Haas’s love of Schubert. (To read more about another of Haas’s inspirations, darkness, please see our first interview.)
Tim Rutherford-Johnson: Several of your works make explicit references to the music of earlier composers. Could you please explain the importance of musical history to you and why you have been drawn to represent it or address in your own music?
Georg Friedrich Haas: The music of earlier composers is an integral part of the present. Today many more people can hear Mozart or Beethoven or Johann Sebastian Bach than was possible in their lifetimes. We enjoy the surface of this music, which is beautiful and we take pleasure in it. But looking deeper, listening deeper makes it clear: these are incredible masterpieces. And they are full of deep human experiences, longings, abysses, hope and desperation. I feel the burden of this heritage when I compose my music.
TR-J: Works like these seem to have occurred more often relatively early in your career. Are the references no longer there, or have they become more hidden?
GFH: The last piece, which is composed in a direct relationship to old music is Tombeau from 2013. This is not too far. I plan to write a piece in relation to Ivan Wyschnegradsky to be performed on his quartertone piano. And I have a great project coming within the next few years, about which I cannot speak at the moment.
TR-J: Are there particular composers you are drawn to in this way? And what has attracted you to work with their music?
GFH: Several important composers who have inspired me include Mozart (3 pieces: ‘sodass ich’s hernach…’, 7 Klangräume with the unfinished drafts of the Requiem, Tombeau), Josquin Desprez (Tria ex uno), Schubert (Torso), Mendelssohn (Traum in des Sommers Nacht), Scriabin (opus 68), Ives (4 songs); Ligeti, Hauer, and Reich (3 hommages for one performer on two pianos tuned a quartertone apart.) They are very different; each of them attracts me in different ways. For example: I understand Mendelssohn as an avant-garde composer – his technique of orchestration is highly innovative, he is the first composer (I know of) to have composed ‘Klangfarbenmelodien’, that is melodies of sound colours.
TR-J: I believe Schubert is particularly significant to you. What do you find special about his music, and what do you think it has to say to listeners in the twenty-first century? Is it a fascination with his biography, or are there specific musical features that appeal to you as well?
GFH: Schubert was an adult during the decade after the Congress of Vienna. The ideals of the French revolution – ‘liberté, egalité, fraternité’ – were replaced by control and submission under a feudal dictatorship. Sadly enough, Austria was ‘great’ again. The lack of utopia, the lack of hope created a general feeling of sadness. In Schubert’s music beauty always changes to pain and vice versa. His answer to the political suppression was: ‘My emotions matter’. Maybe this is very relevant now, in the shadow of new fascism everywhere.
TR-J: In Torso you draw on Schubert’s C-major Piano Sonata (D840), a work that he left unfinished. It seems to me that your music often touches on moments of beginning or ending. This is certainly the case in Morgen und Abend, for example, and perhaps Solstices too. In Torso were you seeking to provide an ‘ending’ to the Schubert sonata, or to offer it a new life, a new ‘beginning’?
GFH: I did not want to provide an ‘ending’ to this sonata. I tried to describe why this sonata must remain unfinished. Schubert made a lot of ‘experiments’ in this work. In the first movement he explained how music would work when the dominant seventh chord is handled like a consonance. And he tried to write a mono-thematic sonata based on two intervals (E–G and G–A). He succeeded. In the third movement he ‘experimented’ with the form. The traditional menuet takes the form of: A-B-A’ (with repetitions)–trio (C-D)–A-B-A’ (without repetitions). In part A he replaced the repeat signs with a variation – transposed a semitone higher (!!!). When it was time to come back to A’, he did not know which of these two tonalities he should chose. And he had to stop.
For today’s listener, a repetition a semitone higher is a cheesy technique found in bad popular music. We cannot perceive Schubert’s problem, because for us it is no problem at all. I tried in Torso to make these gaps audible for a contemporary audience, by composing sounds. Torso is a ‘Klangkomposition’ based on Schubert’s score.
TR-J: You also make reference to Schubert in your song cycle ATTHIS, which you have described as a sort of Winterreise ‘with a happy ending’. Are there any other Schubert works that particularly inspire you to write a response of your own, perhaps one that you haven’t yet composed?
GFH: Oh yes: I would be happy if I could write music as brutally naked as Der Leiermann, music as inhumanly cruel as the beginning of the ‘Sanctus’ in the E-flat major mass, music as empty and vulnerable as the beginning of the second movement of the C-major string quintet, music as passionately sexual as ‘Gretchen am Spinnrad’ …
Excitement is building at Riot headquarters as in less than two weeks we will be giving the first performance of a major new work by Georg Friedrich Haas, one of the world’s leading composers. Titled Solstices the work will receive its world premiere appropriately at the Dark Music Days festival in Reykjavik on 26th January. But don’t worry if you can’t make it to Iceland: the UK premiere is just a few days later at the Royal Academy of Music’s Susie Sainsbury Theatre, on the 29th. Lasting 70 minutes and written for 10 musicians playing in complete darkness this is an event not to be missed.
As part of the build-up to this unique occasion, Tim Rutherford-Johnson has conducted several exclusive interviews with Haas about his music and inspirations. In this third and final conversation, Haas reveals some of the inspirations behind his new piece. If you would like to read more, the first and second interviews are here and here.
Tim Rutherford-Johnson: For our final set of questions I would like to turn to the piece you have written for us, Solstices.What significance do the solstices have for you?
Georg Friedrich Haas: It is a personal and beautiful coincidence. I met my beloved spouse Mollena [Haas-Williams; pictured above] on 21 December 2013. And we decided to perform a ceremony to sanctify our relationship on 21 June 2014. The rehearsals and first performances of Solstices are/were also close to the solstices.
TR-J: The winter and summer solstices are also important moments in many cultures around the world. Have you drawn on the resonances of these moments in your work at all?
TR-J: Are you especially attuned to the passage of the seasons in your own life, the lengthening and shortening of days? Do you work differently in summer and winter, for example? Do you consider an awareness of such things to be important?
GFH: I am always sad when the days get shorter, and I am happy when they are longer. When I lived amongst nature (1991–2000, Fischbach, Austria) I was very conscious of this. The turning of the stars, the moon, the cycle of the seasons – this was a mystical experience. Now, living in New York, I still feel the changes: stars are not visible, but the different lights in the different seasons, the different colours of the sky, are inspiring and beautiful.
I assume my music is not influenced by seasonal changes. I am an addict: I need my drug (that is, composition) every day.
TR-J: Have you sought to translate any of these meanings into your piece? And if so, how?
GFH: Maybe you can feel my love for my spouse Mollena shimmering through the music.
TR-J: Solstices will be played in complete darkness. Reading the score, I am struck by the amount of approximation that is built in, relative to many other contemporary scores – with timings, rhythms, entries, and so on. This is obviously essential when playing from memory and in the dark. I’m interested in what compositional models have you drawn upon in writing this way; I detect hints of Lutosławski as well as James Tenney, but perhaps you have your own ideas.
GFH: Composing means: having an idea of music in one’s head, and trying to communicate with musicians to make these ideas reality. When I write for darkness I must find special techniques for this. Yes, Lutosławski and Tenney inspired me, but also Cage, Stockhausen, and Grisey.
TR-J: The harmonic language of the piece is obviously important, with lots of long overtone chords, for example (some last several minutes). Yet you have also composed a number of interventions or ‘elements’ that can appear freely amongst these. How did you go about balancing a precise harmonic language with these much freer components? Is there an element of conflict in the piece, or of union; or perhaps something else?
GFH: There are plenty of musical elements which I love. There are musicians who give these materials the time they need. And there are listeners who dare to share this journey. Enjoy!
TR-J: Finally, in our first interview you said that that darkness has no meaning, it is just a musical medium. Can you say a little more about the musical qualities that darkness brings to Solstices in particular?
GFH: I have never composed such a long time in darkness for so many instruments. I hope between ten instrumentalists and many listeners we will gain a spiritual experience – all focused on ourselves, isolated, yet strongly connected by the energy of the sounds.
Solstices is a 70-minute piece from Georg Friedrich Haas, which takes place entirely in darkness. For 10 musicians, including a completely re-tuned grand piano, Solstices opens with a passage of taut, energetic, and precise music.From here the piece turns to a process of deep-listening by the musicians who, led by a totally re-tuned grand piano, play and tune a series of overtone chords.Soon Haas introduces a variety of musical ‘games’ and elements that play upon the surface of this slowly moving texture.Building to an intense climax, the final chord is held by the musicians for more than four minutes.Haas writes:
very gradually the light comes back
the brighter the light, the softer the music
decrescendo al niente
Date: Tues 29th January, 8pm Venue: The Royal Academy of Music, Theatre
Solstices is a 70-minute from Georg Friedrich Haas, which takes place entirely in darkness. For 10 musicians, including a completely re-tuned grand piano, Solstices opens with a passage of taut, energetic and precise music.From here the piece turns to a process of deep-listening by the musicians who, led by a totally re-tuned grand piano, play and tune a series of overtone chords.Soon Haas introduces a variety of musical ‘games’ and elements that play upon the surface of this slowly moving texture.Building to an intense climax, the final chord is held by the musicians for more than four minutes.Haas writes:
very gradually the light comes back
the brighter the light, the softer the music
decrescendo al niente
Presented as part of the Spitalfields Music Festival, this concert showcases three eclectic and exciting Canadian composers. It includes the UK premieres of Christopher Mayo’s BEAST (originally written for Alarm Will Sound), and the rapidly upcoming Nicole Lizée’s BLACK MIDI (a co-commission with Gaudeamus Muziekweek, Avanti! and Stargaze), and a new, large ensemble version of Richard Reed Parry’s MUSIC FOR HEART AND BREATH, in which the musicians are led (in tempo) by their own heartbeats and breath.
All three composers will join us for the concert, which takes place near the waterfront across from the O2, at Trinity Buoy Wharf, a short walk from the East India (DLR) or Canning Town (Jubilee Line) stations.