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In a scholarly essay, the music theorist Tobias Tschiedl engages in an exact, critical, and thoroughly readable discussion of Staar’s »specific way of creating harmonic coherence among pitches in a musical context that could largely be described as atonal or post-tonal.« In his detailed analysis he examines a few individual compositions by Staar, focusing especially on the 8 Bagatelles on the Name of György Ligeti op. 14/3a, La Fontaine de Sang op. 22b, the oratorio Hammabbul op. 22g, and the Short Intermezzos op. 22j.

Tobias Tschiedl, On René Staar’s »Composing with Chord Realignments«