Georg Friedrich Haas - limited approximations

limited approximations, for 6 micro-tonally tuned pianos and orchestra (2010) Akiko Okabe, Pi-Hsien Chen, Christoph Grund, Florian Hoelscher, Julia Vogelsänger & Sven Thomas Kiebler, piano SWR-Sinfonieorchester Baden-Baden und Freiburg Sylvain Cambreling The twelfth-tone interval is so small that it is no longer heard as an interval, but rather as the shading of a single note. A single tone played by a romantic orchestra has a wider frequency. The aural effect of a scale in twelfth-tone intervals is thus similar to a glissando. The effect of a cluster of twelfth-tones depends on the register: higher up, it is sharp, abrasive, biting, lower down it is soft, melting, rich. Of course it is also possible to build raw, dissonant chords with twelve-tone intervals -- much more differentiated (also in the degree of acuteness) than with the traditional 12 tones per octave. But it is also possible to build much more “consonant“ chords than in the traditional twelve-note scale