I feel like I'm sitting next to a highway with all sorts of vehicle moving past me in an extremely slow motion. And there's also this huge ship blowing its horn all the time.
That's because he uses the microtones to create a more accurate version of the overtone series. The overtones are everywhere in nature and has existed since the beginning of time :)
This was surely an experience. Absolutely fantastic. Its like the feeling of emptyness. Being in a unfamiliar place that is void of any recent human evidence apart from perhaps some buildings that are abandoned for whatever reason it may be. You undergo feelings of fear and confusion and finally become content with the situation as you decay away in this void.
Everyone is talking about how this reminds them of machines, engines, highways and airplanes. For me, this music sounds like the sounds one would hear in hell. The waves that would struck your ears when you enter it, just like the entry to this work, inducing hallucination. And the sighs and cries you hear when you're already deep inside of it, alike the ones of those who are dwelling and stewing hell. On one hand, I thought that my interpretation was the superior one. But then on the other hand, I was scared to see that the two are more connected than I would want them to be...
every composition is a new whole world. doesn't have to fit in usual patterns or norms. doesn't have to convey a "meaning". forget your mental constructions & just listen, just see, just be. be alert. explore every sound, every image, every colour. infinite worlds within infinite worlds. your mind alone is the wonder of wonders!
This is the best advice I've ever heard. ' I particularly love the transition at 14:10 - 14:16.The piece seems to have almost a narrative arc - which may not be intended, but is in the mind of this listener. The shape of the piece intrigues me. I find listening to it a very satisfying experience because I didn't start with any preconceived notions of what music can or can't be. I like it.
I don't find this advice satisfactory. If my mind alone is the wonder of wonders, then it's the one doing the composing and the art here, and I think that's taking too much away from the artist's responsibility and giving too much credit for a lot of the stuff that marches around as music these days, like Justin Bieber. By the way, I don't think this piece sucks at all. Although, as always, I'm not sure its duration is justified yet.
it's new, it's different, it's certainly not wonderful. in the same way I don't like romantic comedies, I don't like serialist works. who cares? you can stick to your pretensions and pretend you are the more avid listener. stop trying to convince everyone that your way is the better way of enjoying art.
This is far beyond my intelligence level, but as a music lover and listener, I have recently discovered your compositions. My personal take away with this piece, is that it is filled with so emotion for me, captivation and pain. It's like hearing the reality that we ignore because it's too painful or we choose to put blinders on. in really simple terms, this is amazing and complex for absence of melody. It speaks a different language, one that is uncomfortable for me to hear, yet is intriguing and I want to explore more. It speaks volumes that words cant seem to define or articulate. wow (in a good way)
+eurobpm To me, it sounds like an exploration of tuning - how different stringed instruments pitches are affected by the physics of the instrument - while so much of this is unison playing, there is no such thing as truly perfect unison because of the tiny differences in pitch between the instruments, and we hear that more closely in a quartet texture, and the composer exaggerates it with vibrato, quarter tones, etc.
Especially for Georg friedrich Has this music is not about intelligence, he describes his approach as anti intellectual ( i seem to remember)l, he is interested in the actual sound of music itself rather than a more intellectual approach.
eurobpm in simple terms this is pure sound, as every music and everything audible. explore it. be alert. doesn't have to fit in usual patterns or norms or tastes.
I've never studied music, and can't tell you a lick of the differences between the various types of compositions. But, I personally enjoy this piece because I find it extremely suitable on creating an atmosphere that I'm looking for in particular while working on my horror novel. What draws me to this particular piece is the sense of dread and unexpectedness that comes from it, and serves as a perfect inspiration and muse for the dread and tension that the main character feels throughout the story.
Thanks for sharing with the sheet. For me this piece is a picture of the beginning of the universe. You can listen the water the wind the earth and the fire the steel. it represents everything. thanks
The first 4 1/2 minutes are exposing some partials of C, the cello's lowest note. Then it seems Haas turns to exploring glissandi. When you think you've caught the idea, the piece takes another turn.
sehr schön entspannend ,interessante Notenschreibweise,alles ist möglich in der Zukunft es ist wie eine Zeitreise.....danke es inspiriert mich ich dachte in der Mitte des Stücks klang wie Husten auch erinnert es an Krieg irgendwie
Wow! you need a REALLY good ear to play this! all the micro tuning and harmonics. Sounds great when everything occasionally comes into 'just' tuning for the odd moment.
From Penderecki forward we have a lot of use of constantly sliding pitches. This is often very interesting and creates beautiful accidentals on the way and great tonal and emotive ambiguity...also the weird sort of doppler effect of moving past. It's the orientation of this piece in particular that's fascinating. Is it moving slowly, or is it remaining still and things are moving past it? On the other hand I hear so much of this constant glissando it can create a muddiness that reminds me of a musical version of a drip painting...not everybody is a Pollack.
johnpcomposer wrote: "On the other hand I hear so much of this constant glissando it can create a muddiness that reminds me of a musical version of a drip painting..." not sure that applies here to this piece but I love the analogy: glissando = drip - great imagination!
because its real, and after the crisis of the mid-late 20th century (coming out of the institutionalized dominance of serialism), many composers realized that they can't work with materials that aren't sensually real in that sense.
Gen Tanaka Sure it's real, but there sometimes seems to be an aspect of naivete (or fashion, even cheapness) in directly copying that reality into art.
You're right Paul. I mean before we were standing on the backs of giants using every elaboration built upon the harmonic series that had become western harmony, and here people are piddle diddling around. This is worse than strict serialism to me.
Without analysing the score, I hear a piece of spectral music to some extent relying on patterns, quite light, a touch of new simplicity certainly. What does it have to do with harmonic series (apart from the obvious fact that overtones are, for basic physical reasons, integral part of any music)? (I ask this as an actual question.)
Its amazing how people treat this music the way people treated early 20th century art and the way people rejected and criticized Rock and Roll. Music is music. Its just not your type of music. I love modernism and the exploration of sound and i dislike Mozart. Everyone has their taste. Dont be rude to people who are trying to enjoy their own little tastes.
Jon, well, you and I should sit down and talk about Mozart ;) I agree with what you said. And I really enjoy this piece. I invite you to listen to this quartet: String Quartet by Craig Walsh
If you listen to this for 5 minutes and then click to something else, you're doing yourself a disservice. This quartet needs to be heard all the way through to have its full effect. The microtonal shifts stop, and the coda completely changes character to a gorgeous, but bleak, tonal nirvana.
+U R Mikcomposer Where is the scientific study that shows the "the universe vibrate to theses harmonics" (sic). This is mostly some pseudo-science idea. Normal sound vibrations don't exist without air, and if you want to talk about string theory, well I don't think particle vibrations produce sound. They are far too small to have an effect on something as large as a molecule. You seem to think that this piece is using the natural universe vibrations. so tell me, which note is the universe vibrating at?
+Erich von Manstein He's just talking about the overtone series (or harmonic series), which is pretty much solely used up until ms. 57. And that is extremely "natural."
Question for anyone who might know: when a group performs a piece like this, are all 4 players reading from the score, or from individual parts w/ just their own staves?
Dear Mark, this is Simone from the Kairos Quartet. Yes, we are all performing from the score. This is very much recommanded for this type of music, and also in general for chamber music. Cheers.
Включил примерно в середине, в 11:30 - как будто мухи жужжат. Но это ok, мне нравятся мухи, особенно те которые сверкают как изумруд, они весёлые такие.
i actually think this piece is very beautiful, even if it is unconventional and dissonant. i don't know what haas' original intention was but to me it seems like an attempt at capturing an environment or experience that is unfamiliar to humans through a medium that is, like if someone tried to take a photograph of the 4th dimension.
Here the cellist needs to put additonal power on the power and turn it somewhat while stroking the string. Cheers, Simone from the Kairos Quartet (the performers of this recording).
Bei Takt 86 hört man besonders die Angriffsflugzeuge und Sirenen ,bei Takt 106 fängt es an zwischendurch wohlklingend zu werden zwischen Harmonie und Einklang,jedenfalls Herr G. F. Haas versteht was von Geigen das ist akzeptabel .......
