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ungefähr ganz genau (2022), Georg Friedrich Haas' (1953) new piece (loosely translated as approximately exactly) has as its subject a 1885 conference to determine a standard pitch for different orchestras. freedom to play out of tune, to feel the tension between the pitches in order to try and optimise the vibrations produced is the goal. a state of stillness is constantly broken. tonal reminiscences and striking glissandi abound within a richly coloured field while crescendi and decrescendi produce feelings of convergence and divergence, compression and relaxation. this is IMHO one of Haas's best orchestral works to date and can compete with In Vain, Dark Dreams and Limited Approximations which are all among the best orchestral works of this century.
 

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i am totally devastated by the lack of response or reaction to this absolute masterpiece and have therefore decided not to post any more on this thread
I listened to the first 5 seconds and I was like nope. Sorry it’s too late to be listening to music that sounds like that. I’m not sure but was that atonal?
 

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I listened to the first 5 seconds and I was like nope. Sorry it’s too late to be listening to music that sounds like that. I’m not sure but was that atonal?
Like Beethoven, Haas is writing for the future generations so maybe it is not of interest to you. For your info Haas mixes tonal and atonal.
 

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i am totally devastated by the lack of response or reaction to this absolute masterpiece and have therefore decided not to post any more on this thread
I'd be grateful if you didn't. I think the work you do both here and in the contemporary piano pieces thread has enormous value, even if no one replies, or only one or two other members do, I'm sure there are people lurking and paying attention. I am one of those. This year I haven't been able to listen to much music, let alone explore as much as I usually do, so your recommendations have been really helpful. I hope you keep doing it. Cheers.
Oh, I love Haas, and I'll probably listen to this new piece either tomorrow or friday,.
 

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I'd be grateful if you didn't. I think the work you do both here and in the contemporary piano pieces thread has enormous value, even if no one replies, or only one or two other members do, I'm sure there are people lurking and paying attention. I am one of those. This year I haven't been able to listen to much music, let alone explore as much as I usually do, so your recommendations have been really helpful. I hope you keep doing it. Cheers.
Oh, I love Haas, and I'll probably listen to this new piece either tomorrow or friday,.
thks for yr kind words. i have tried to make two template contributions. but you cannot imagine my disappointment at the lack of dialog/feedback. life should be a two way street.otherwise i am not interested. so i will not post any works any more on those two threads. I will still answer people like you if they have questions. i might start other threads. my interest for spanish music, especially renaissance music is well known but i could go all the way to the most contemporary composers. i am also thinking of doing a thread about electronic/electro-acoustic music in which i am specialised. our members do not realise the nuggets i have shown in the two former threads, so why should they be interested by music they do not know at all. one negative comment about haas will not discourage me, but no response/reaction at all is alarming if you realise you are dealing with the beethoven of our era. take care JK
 

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ungefähr ganz genau (2022), Georg Friedrich Haas' (1953) new piece (loosely translated as approximately exactly) has as its subject a 1885 conference to determine a standard pitch for different orchestras. freedom to play out of tune, to feel the tension between the pitches in order to try and optimise the vibrations produced is the goal. a state of stillness is constantly broken. tonal reminiscences and striking glissandi abound within a richly coloured field while crescendi and decrescendi produce feelings of convergence and divergence, compression and relaxation. this is IMHO one of Haas's best orchestral works to date and can compete with In Vain, Dark Dreams and Limited Approximations which are all among the best orchestral works of this century.
So far, I have not been completely enthralled with spectralism (or is this post-spectralism?).

I think there is not enough 'movement' in the music for me. At least where my tastes are currently.

But I do hear enough to keep me listening, and open to it. So much music that is among my favorite, in various genres that I listen to, took a bit of time to appreciate. I've learned enough over the years, to not instantly give up on music that does not immediately appeal to me.

It is probably only a matter of time before I find my entry into the style.
 
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