Introduktion und Transsonation

Year of composition
2012
Subtitle
Music for 17 instruments with audio material from recorded sound experiments by Giacinto Scelsi
Scored for
for 17 instruments and tape
Composer
Georg Friedrich Haas
Instrumentation
1 0 2 0 – 2 1 2 0, t.sax(Bb), vln(2), vla(2), vc(2), cb(2)
Instrumentation details

alto flute (+fl)
clarinet in Bb
bass clarinet in Bb (+cl(Eb))
tenor saxophone in Bb (+sop.sax(Bb))
1st horn in F
2nd horn in F
trumpet in C
1st trombone
2nd trombone
1st violin
2nd violin
1st viola
2nd viola
1st violoncello
2nd violoncello
1st double bass
2nd double bass

Commissioned by

Kompositionsauftrag vom Klangforum Wien finanziert durch die Ernst von Siemens Stiftung.
Die Komposition ist im Rahmen des Projektes „Giacinto Scelsi Revisited“ entstanden und von experimentellen Klangdokumenten Scelsis inspiriert worden. Dank an die Fondazione Isabella Scelsi für die freundliche Überlassung von Kopien der orig. Tondokumente Giacinto Scelsis, die bei den Aufführungen von Introduktion und Transsonation auch zu hören sind, und für die Erlaubnis zu ihrer künstlerischen Nutzung.

Duration
17′30″

World Premiere

Location: Köln / Germany
Date: 01.05.2013
Orchestra: Klangforum Wien
Conductor: Sian Edwards

Work introduction

This piece was composed as part of the Giacinto Scelsi Revisited project, inspired by Scelsi’s experimental sonic documents. Heartfelt thanks are owed to the Fondazione Isabella Scelsi for kindly providing copies of Giacinto Scelsi’s original sonic documents, used in performances of Introduktion und Transsonation.

Haas says about the project:
The composition is a preamble and (sonic) transfer of Scelsi’s thinking and the original documents. The succession of note heads is merely a makeshift solution to the problem of setting down a complex of sonic images. As a notational technique, storing such images using electronic media is absolutely equivalent to writing them down on musical staves. Scelsi’s notational procedure is entirely comparable to Beethoven’s sketchbook, for instance […] Scelsi has proved that it is possible to compose music without using notational means in the composing process. In view of the artistic power of his works, we can put it this way: it was not a question of an option here, but of an aesthetic necessity.

Ensembles that have played this work

Klangforum Wien
Collegium Novum Zürich
Argento Chamber Ensemble

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