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Description

Description

"Looking through the magnifying glass is the way I listen." Looking at Karin Haußmann's music, one notices that sound plays a paramount role in her compositions. "I've always been fascinated by the specific, audible quality of a sound. I find something very sensual about it, especially in the case of complex rough-hewn sounds."
Karin Haußmann (born 1962; compositional studies with Walter Zimmermann and Nicolaus A. Huber) uses to dissect a particular sonic event into component parts in her mind and to reassemble them by reconnecting the modules. It's also very fascinating to hear how the composer uses the human voice as a sound generator. When Karin Haußmann dissects a sound into its component parts she creates material for gradual or quantum changes, for example by transferring them to the entire ensemble, or by creating new combinations or instrumentations.
A special theme in her compositions are marginal occurrences of acoustical perception: phenomena on the borderline between noise and sound, "resonances, memories on the edges of alertness".

Content

lys für Ensemble
nichts als geräusch. Musik ohne Worte in drei Teilen für Sopran, Bassflöte, E-Gitarre und Schlagzeug
Resonanzen. Erinnerung an den Rändern der Wachsamkeitfür Klarinette, Flöte (auch Picc.), Violine, Violoncello und Klavier
weights and measures für Klavier solo
Schwellen für Bassflöte, Bassklarinette, Schlagzeug, Violine, Viola und Violoncello
Ein Ort für Zufälle für Sopran, Akkordeon, Flöte (auch Picc.) und Schlagzeug

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