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Domain > www.paulhaas.com
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DNS Resolutions
Date
IP Address
2018-02-21
23.59.189.91
(
ClassC
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2024-10-01
52.52.134.71
(
ClassC
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Port 80
HTTP/1.1 301 Moved PermanentlyServer: openrestyDate: Tue, 01 Oct 2024 04:20:11 GMTContent-Type: text/htmlContent-Length: 166Connection: keep-aliveLocation: https://www.paulhaas.com/ html>head>title>301 Moved Permanently/title>/head>body>center>h1>301 Moved Permanently/h1>/center>hr>center>openresty/center>/body>/html>
Port 443
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I\u2019m a conductor and composer, and a large part of my work involves creating musical and visual experiences for unusual venues. I serve as Music Director of the \u003ca href\http:\/\/www.sonamusic.org\ data-type\\ target\_blank\\u003eSymphony of Northwest Arkansas\u003c\/a\u003e and have had the pleasure of creating radically engaging live orchestral experiences for some of the most iconic venues in North America. Plus, Im in the midst of starting an organic, self-sustaining homestead with my family.\u003c\/p\u003e\u003cp\u003e\u003cspan style\display: inline-block\\u003e\u0026nbsp;\u003c\/span\u003e\u003c\/p\u003e\u003cp style\font-size: 130%;\\u003eI invite you to scroll down and learn more about me. Then, if youd like, \u003ca href\http:\/\/www.paulhaas.com\/#contact-form\ data-type\\ target\_blank\\u003ejoin my mailing list\u003c\/a\u003e or \u003ca href\http:\/\/www.paulhaas.com\/#contact-form\ data-type\\ target\_blank\\u003esend me a message\u003c\/a\u003e.\u003c\/p\u003e\u003c\/div\u003e,backupValue:null,version:1},text2:{type:RichText,id:f_ff4b4b1e-dace-488a-aff2-065f34f44bdc,defaultValue:false,value:,backupValue:null,version:1},text1:{type:RichText,id:f_fdca237e-7218-46c7-9e97-11120d346aa3,defaultValue:false,value:\u003cp\u003ePAUL HAAS\u003c\/p\u003e\u003cp\u003econductor,\u003c\/p\u003e\u003cp\u003ecomposer,\u003c\/p\u003e\u003cp\u003eand\u003c\/p\u003e\u003cp\u003einstallation artist\u003c\/p\u003e,backupValue:null,version:1},slideSettings:{type:SlideSettings,id:f_683dfc2e-b69c-4287-930b-ae910560eb7a,defaultValue:null,show_nav:true,show_nav_multi_mode:null,nameChanged:null,hidden_section:null,name:home,sync_key:null,layout_variation:center-subTop-normal,display_settings:{},padding:null}}},{type:Slide,id:f_3fd8c915-e76b-497e-ad3a-6c5e6e1b5fd3,defaultValue:null,template_id:null,template_name:columns,components:{repeatable1:{type:Repeatable,id:f_a85f38b9-368b-44aa-a52a-79f9c3306085,defaultValue:false,list:{type:RepeatableItem,id:f_a198c5da-3693-4ba6-a573-e4acafd354d9,defaultValue:null,components:{text3:{type:RichText,id:f_f28e47ca-7512-42c8-b25c-81ac60881d5a,defaultValue:false,value:,backupValue:null,version:1},text2:{type:RichText,id:f_8c5f87d2-e4a0-4bdb-acbd-5be899bfbbd2,defaultValue:false,value:\u003cdiv class\s-rich-text-wrapper\ style\display: block;\\u003e\u003cp\u003eA fast-motion tour of it all, from Bionic Symphony to ARCO and TOWER, with everything in between.\u003c\/p\u003e\u003c\/div\u003e,backupValue:,version:1},text1:{type:RichText,id:f_3bf04ee9-4487-41a3-872d-e6d260eedf04,defaultValue:false,value:\u003cp\u003eA sampling of my installations\u003c\/p\u003e,backupValue:,version:1},media1:{type:Media,id:f_c3b6b616-19d2-4f0d-a9fb-9f27c1bf12bc,defaultValue:null,video:{type:Video,id:f_16efc3a5-3c48-44c2-bcef-9c60be466412,defaultValue:null,html:\u003ciframe class\embedly-embed\ src\\/\/cdn.embedly.com\/widgets\/media.html?srchttps%3A%2F%2Fplayer.vimeo.com%2Fvideo%2F55052876%3Fh%3D74816bd787%26app_id%3D122963\u0026dntp1\u0026wmodetransparent\u0026display_nameVimeo\u0026urlhttps%3A%2F%2Fvimeo.com%2F55052876\u0026imagehttps%3A%2F%2Fi.vimeocdn.com%2Fvideo%2F380995169-8526863439e7672e792566d75b7004fe801ae5c53daa9548fe9c864845133eff-d_1280\u0026key9cb34c0390b4469e854e4dba4580a892\u0026typetext%2Fhtml\u0026schemavimeo\ width\700\ height\394\ scrolling\no\ title\Vimeo embed\ frameborder\0\ allow\autoplay; 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See a whole lot more \u003c\/span\u003e\u003cspan class\s-text-color-red\\u003e\u003ca href\https:\/\/vimeo.com\/user1872922\ data-type\\ target\_blank\\u003ehere\u003c\/a\u003e\u003c\/span\u003e\u003cspan class\s-text-color-red\\u003e!\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e,backupValue:null,version:1},text2:{type:RichText,id:f_573b10b0-3dc3-4905-85dd-c56661397ee2,defaultValue:false,value:\u003cp\u003eAn extraordinarily insightful \making of\ about State of Grace, my 75-minute piece for Grace Cathedral in San Francisco (a collaboration with \u003ca href\http:\/\/www.annepatterson.com\/Welcome\/about.htm\\u003eAnne Patterson\u003c\/a\u003e)\u003c\/p\u003e,backupValue:,version:1},text1:{type:RichText,id:f_4ce602a5-9d2c-46cc-aa1d-badbede335c1,defaultValue:false,value:\u003cp\u003eState of Grace - 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gorgeous images of my first installation ever (featuring \u003ca href\http:\/\/anneakikomeyers.com\\u003eAnne Akiko Meyers\u003c\/a\u003e and \u003ca href\http:\/\/www.theknightsnyc.com\\u003eThe Knights\u003c\/a\u003e, along with sumptuous art by \u003ca href\http:\/\/www.kateraudenbush.com\\u003eKate Raudenbush\u003c\/a\u003e)\u003c\/p\u003e,backupValue:,version:1},text1:{type:RichText,id:f_ae13f9ca-4d5f-4f03-9bf7-a647ccb97b0f,defaultValue:false,value:\u003cp\u003eREWIND: concert trailer\u003c\/p\u003e,backupValue:,version:1},media1:{type:Media,id:f_b85b70d9-c5db-4c9e-96c2-6a847e36f569,defaultValue:false,video:{type:Video,id:f_1080108c-3dfa-433c-8b11-b920821eeb08,defaultValue:false,html:\u003ciframe class\embedly-embed\ 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src\https:\/\/w.soundcloud.com\/player\/?urlhttps:\/\/api.soundcloud.com\/users\/41543401\\u0026gt;\u0026lt;\/iframe\u0026gt;,render_as_iframe:false,selected_app_name:SoundcloudApp,app_list:{\SoundcloudApp\:277184}}}},{type:Slide,id:f_f10f8e97-f249-4fa0-afa6-f95b2814cb7b,defaultValue:null,template_id:null,template_name:media,components:{repeatable1:{type:Repeatable,id:f_f4a7203e-cc41-4622-adfe-18d080a5a1ab,defaultValue:false,list:{type:RepeatableItem,id:f_734ed033-47fe-4d3d-9a0e-56eda1fcd08e,defaultValue:null,components:{text3:{type:RichText,id:f_329943fe-fbaf-4754-aae3-cf2e1b682054,defaultValue:false,value:\u003cp\u003ePaul Haas was at the start of a promising conducting career when he devised and produced a concert project called \u003ca target\_blank\ href\http:\/\/symphoconcerts.org\/rewind_program.php\\u003eREWIND\u003c\/a\u003e in 2006, featuring composer and musician colleagues and violin soloist \u003ca target\_blank\ href\http:\/\/anneakikomeyers.com\\u003eAnne Akiko Meyers\u003c\/a\u003e. REWIND was a reaction against the staid nature of the standard classical music performance: audience members surrounded the performers, then left and started playing behind the audience on all sides. There were mirrored sculptures by \u003ca target\_blank\ href\http:\/\/www.kateraudenbush.com\/#home-navigation\\u003eKate Raudenbush\u003c\/a\u003e hanging from the ceiling, interacting in multifaceted ways with the subtle theatrical lighting design. Music started before the audience arrived, and it continued without pause \u2013 even between pieces \u2013 until after the audience left. A laptop artist injected samples of the orchestra and the audience into the texture.\u003c\/p\u003e\u003cp\u003e\u00a0\u003c\/p\u003e\u003cp\u003eREWIND had great success, prompting Haas to found \u003ca target\_blank\ href\http:\/\/symphoconcerts.org\\u003eSympho\u003c\/a\u003e, an organization devoted to the creation and performance of symphonic experiences in unusual venues. One critic, writing in \u003cem\u003eTime Out NY\u003c\/em\u003e, even called Haas visionary.\u2019 But what touched Haas more were comments from those involved in the performance, from musicians and members of the audience. \u201cI cannot remember a night at the symphony that was so transcendently beautiful. It was the kind of experience one hopes comes in the hereafter,\u201d said one audience member after Sympho\u2019s second concert, \u003ca target\_blank\ href\http:\/\/symphoconcerts.org\/traces_program.php\\u003eTRACES\u003c\/a\u003e. Another said, \u201cAlthough I get to enjoy live music on occasion, it is never with the intimacy, originality, and fervor that we saw last night.\u201d\u003c\/p\u003e,backupValue:null,version:1},text2:{type:RichText,id:f_c9120de6-1d89-47de-99dd-79472823edb6,defaultValue:false,value:,backupValue:\u003cdiv style\text-align: left;\\u003e\u003c\/div\u003e,version:1},text1:{type:RichText,id:f_9d99bc8f-80b5-4eb5-b6ef-2befca14169d,defaultValue:false,value:\u003cp style\text-align:left\\u003eBIO\u003c\/p\u003e,backupValue:null,version:1},media1:{type:Media,id:f_a52f86f9-e57e-4b3e-821d-1f3a68222c57,defaultValue:false,video:{type:Video,id:f_2319aa09-e5d1-4331-81e2-0ba04438955f,defaultValue:null,html:\u003ciframe src\http:\/\/player.vimeo.com\/video\/12236680?title1\u0026byline1\u0026portrait1\ width\700\ height\394\ frameborder\0\ webkitallowfullscreen mozallowfullscreen allowfullscreen\u003e\u003c\/iframe\u003e,url:https:\/\/vimeo.com\/12236680,thumbnail_url:null,maxwidth:700,description:null},image:{type:Image,id:f_5c71148e-166f-48af-aaaf-22766e5232a9,defaultValue:null,link_url:,thumb_url:\/assets\/icons\/transparent.png,url:\/assets\/icons\/transparent.png,caption:,description:,storageKey:null,storage:null,storagePrefix:null,format:null,h:null,w:null,s:null,new_target:true,noCompression:null,cropMode:null,focus:null},current:image},button1:{type:Button,id:f_1163e358-60c3-4581-aa8f-493ab0794fc9,defaultValue:true,text:,link_type:null,page_id:null,section_id:null,url:,new_target:null}}},{type:RepeatableItem,id:f_c66cdd3b-4360-48ca-b405-89f86ccb3b1f,defaultValue:null,components:{text3:{type:RichText,id:f_6157a65e-ca8e-49ec-a141-31088a60c944,defaultValue:false,value:\u003cdiv class\s-rich-text-wrapper\ style\display: block;\\u003e\u003cp class\s-rich-text-wrapper\\u003e\u201cAs I reflected on these various creations, I found they went far beyond novelty, resonating deeply with my own ideas, with my search for meaning,\u201d Haas says. The inspiration for Haas\u2019 work comes from a wide array of spiritual and ecological sources, including a longstanding meditation practice and a deep connection to the earth that finds Haas, along with his wife Suzette and two young girls, in the process of beginning an organic homestead that aims eventually to be self-sustaining. His deep concern for the land, for the Earth, and for all its inhabitants, have led him to create art where, as Haas says, \u201cbeauty is the only artistic choice: not saccharine, sometimes painful, but always immediate and always real. I\u2019m always striving to connect deep within to that place in each of us that craves beauty, that craves love.\u201d\u003c\/p\u003e\u003cp\u003e\u003cspan style\display: inline-block\\u003e\u0026nbsp;\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eOne result of Haas\u2019 immersion in this creative process is his emergence as a composer: over the last 15 years, over 30 commissions have come in from a wide variety of iconic venues, including the \u003ca href\https:\/\/vimeo.com\/28252567\ data-type\\ target\_blank\\u003ePark Avenue Armory\u003c\/a\u003e and \u003ca href\http:\/\/www.elliottforrest.com\/comic-book-live.html\ data-type\\ target\_blank\\u003eRubin Museum of Art\u003c\/a\u003e in New York, \u003ca href\https:\/\/vimeo.com\/98887083\ data-type\\ target\_blank\\u003eGrace Cathedral\u003c\/a\u003e in San Francisco, the \u003ca href\http:\/\/www.derekcote.com\/legends\ data-type\\ target\_blank\\u003eAnchorage Museum of Art\u003c\/a\u003e in Alaska, and the Fay Jones School of Architecture and Design in Arkansas. Haas is the first artist ever to receive two separate commissions from the \u003ca href\https:\/\/vimeo.com\/69135920\ data-type\\ target\_blank\\u003eOliver Ranch Foundation\u003c\/a\u003e in Sonoma County, California, creating installations for Ann Hamilton\u2019s groundbreaking Tower, an 80-foot-tall concrete tower with interior double-helix staircases. Haas explains why unusual venues figure so prominently in his output: \u201cMy work always celebrates space and our place within it. So many of us are disconnected from our surroundings, and it can be profoundly healing to become aware of \u2013 and even celebrate \u2013 where we are and how we fit in.\u201d\u003c\/p\u003e\u003c\/div\u003e,backupValue:null,version:1},text2:{type:RichText,id:f_1899c486-0dde-4eae-a0b9-0555c1f3dc00,defaultValue:false,value:,backupValue:\u003cdiv style\text-align: left;\\u003e\u003c\/div\u003e,version:1},text1:{type:RichText,id:f_8b9df616-98c7-4135-a409-173ce180d940,defaultValue:false,value:\u003cp style\text-align:left\\u003e\u201cI cannot remember a night at the symphony that was so transcendently beautiful. It was the kind of experience one hopes comes in the hereafter\u201d\u003c\/p\u003e,backupValue:null,version:1},media1:{type:Media,id:f_d4ff833a-044d-411c-b20f-e0dcbd779e98,defaultValue:false,video:{type:Video,id:f_2319aa09-e5d1-4331-81e2-0ba04438955f,defaultValue:null,html:\u003ciframe src\http:\/\/player.vimeo.com\/video\/12236680?title1\u0026byline1\u0026portrait1\ width\700\ height\394\ frameborder\0\ webkitallowfullscreen mozallowfullscreen allowfullscreen\u003e\u003c\/iframe\u003e,url:https:\/\/vimeo.com\/12236680,thumbnail_url:null,maxwidth:700,description:null},image:{type:Image,id:f_5c71148e-166f-48af-aaaf-22766e5232a9,defaultValue:null,link_url:,thumb_url:\/assets\/icons\/transparent.png,url:\/assets\/icons\/transparent.png,caption:,description:,storageKey:null,storage:null,storagePrefix:null,format:null,h:null,w:null,s:null,new_target:true,noCompression:null,cropMode:null,focus:null},current:image},button1:{type:Button,id:f_84102652-9b26-4721-8681-bf8927c927d8,defaultValue:true,text:,link_type:null,page_id:null,section_id:null,url:,new_target:null}}},{type:RepeatableItem,id:f_0f6f6f79-e6b7-46c3-b33f-f4ad353d0746,defaultValue:null,components:{text3:{type:RichText,id:f_296599b3-ecdd-4327-b381-80df98cb852b,defaultValue:false,value:\u003cdiv class\s-rich-text-wrapper\ style\display: block;\\u003e\u003cp class\s-rich-text-wrapper s-rich-text-wrapper s-rich-text-wrapper s-rich-text-wrapper s-rich-text-wrapper s-rich-text-wrapper s-rich-text-wrapper\\u003eAn equally rich part of Haas\u2019 professional life is his service as Music Director of the \u003ca href\http:\/\/www.sonamusic.org\ data-type\\ target\_blank\\u003eSymphony of Northwest Arkansas\u003c\/a\u003e (SoNA) since 2010. An extraordinarily supportive community and the orchestra\u2019s connection with an appreciative and faithful audience have allowed SoNA to grow its operations substantially, necessitating a fourfold increase in its operating budget. \u201cI\u2019m so proud of all we\u2019re accomplishing,\u201d says Haas. \u201cWhen you look at the orchestral landscape across the country, it\u2019s heartening to see examples of success \u2013 of true community engagement \u2013 like this one. It really is a unique situation.\u201d SoNA\u2019s fans are equally proud; one wrote to Haas, \u201cYou are truly a breath of fresh air \u2013 I love your youthful exuberance, and it\u2019s easy to see that your players are really joining you in true music-making. That, my friend, is not so easy to do these days. \u003c\/p\u003e\u003cp\u003e\u003cspan style\display: inline-block\\u003e\u0026nbsp;\u003c\/span\u003e\u003c\/p\u003e\u003cp class\s-rich-text-wrapper s-rich-text-wrapper s-rich-text-wrapper\\u003eSo many professional orchestras tend to leave me, on one hand, very impressed with their impeccable intonation and their impressive ensemble playing, but on the other hand it seems as though many have played the standard literature so much that they have lost their love, true love for inspired playing. I haven\u2019t really seen that before here until your arrival.\u201d Haas recently completed a transformational tenure as Music Director of the Thunder Bay Symphony Orchestra, which is considered one of Canadas best regional orchestras and is noted for its history of innovative programming and important premieres. Over the course of six years, Haas accomplished his intended goals: he galvanized the community behind the TBSO, playing a pivotal role in raising the necessary funds both to pay down an accumulated decificit of over $500,000 and to lay down more than $400,000 in accumulated reserves.\u003c\/p\u003e\u003c\/div\u003e,backupValue:null,version:1},text2:{type:RichText,id:f_2675b069-682e-4a54-97a1-71b0588963df,defaultValue:false,value:,backupValue:\u003cdiv style\text-align: left;\\u003e\u003c\/div\u003e,version:1},text1:{type:RichText,id:f_11263288-196a-4211-99cb-507aba659172,defaultValue:false,value:\u003cdiv class\s-rich-text-wrapper\ style\display: block;\\u003e\u003cp style\text-align: left;\\u003e\u201cMy work always celebrates space and our place within it. 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s-font-title\\u003ephotos\u003c\/h2\u003e,backupValue:,version:1},slideSettings:{type:SlideSettings,id:f_0303be3d-d5e1-4bbc-a839-23a290d1691c,defaultValue:null,show_nav:true,show_nav_multi_mode:null,nameChanged:null,hidden_section:null,name:photos,sync_key:null,layout_variation:,display_settings:{},padding:null}}},{type:Slide,id:f_1f5faab0-9ea5-4a06-b054-6acc804b1203,defaultValue:null,template_id:null,template_name:media,components:{repeatable1:{type:Repeatable,id:f_5b55c5dc-bdca-4824-a79b-03b7ad0d1904,defaultValue:null,list:{type:RepeatableItem,id:f_78bb771b-0cf4-48ba-a9b6-730d8b80453e,defaultValue:null,components:{text3:{type:RichText,id:f_2014b480-0b36-4aba-88a0-912d9dd1341c,defaultValue:false,value:\u003cp\u003e\u201cThe entertaining and imaginative Haas, a nationally acclaimed director, devotes considerable time and energy to creating unique and exciting performances\u2026 Haas had promised the finale would be an \u2018unforgettable sonic experience.\u2019 To me, that could pretty well describe the imminently indefatigable Haas himself\u2026 Haas doesn\u2019t simply conduct these melodies. This man with a broad, endearing smile and a refreshingly dry sense of humor becomes one with the flourishes, swirls and rhythms. He also enjoys glancing over his shoulder at the audience and winking\u2026 The symphony heads into the new season expecting yet another round of sellout performances, deservedly so, in my book.\u201d \u2014 \u003cem\u003eArkansas Democrat-Gazette\u003c\/em\u003e, reviewing a performance with Symphony of Northwest Arkansas (SoNA)\u003c\/p\u003e\u003cp style\text-align:left\\u003e\u00a0\u003c\/p\u003e\u003cp\u003e\u201cThe program was ambitious. The performance was electrifying. It was a concert that renews a community\u2019s love of music and sends concertgoers clamoring for season tickets\u2026Haas\u2019 conducting was once again inspiring and filled with grace, elegance and confidence\u2026The orchestra that enjoyed an auspicious last season was refocused for this one \u2014 perhaps re-galvanized is more accurate. There was an attitude of confidence with this orchestra that we hadn\u2019t seen or heard before. Perhaps this was due to the sheer enjoyment of their newfound caliber of artistry. Perhaps it was due to the fact that they were consistently stunning. And they played like they knew it.\u201d \u2014 \u003cem\u003eCity Wire\u003c\/em\u003e, reviewing a performance with Symphony of Northwest Arkansas (SoNA)\u003c\/p\u003e\u003cp\u003e\u00a0\u003c\/p\u003e\u003cp\u003e\u201cPaul Haas\u2026managed to charm the audience again. It\u2019s apparent to me that he has a natural gift for relating to people. He knows when to smile, to pause for effect, to wink at the thousands watching and to publicly recognize his musicians and even when to serve up his surprises. One of his greatest strengths, however, is simply understanding what kind of music and melodies will touch the hearts and souls of listeners and how to link those in the seats with their brethren in elegant black tie and gowns on the stage\u2026 \u2014 \u003cem\u003eArkansas Democrat-Gazette\u003c\/em\u003e, reviewing a performance with Symphony of Northwest Arkansas (SoNA)\u003c\/p\u003e\u003cp\u003e\u00a0\u003c\/p\u003e\u003cp\u003e\u201cPerhaps that\u2019s also what\u2019s behind the magic Haas conjures on stage. He looks for ways to be continually interactive with his audience. He seeks to make them feel an ownership of the evening\u2026He lays it out at the gut level with humor and people respond both to the authenticity and his abilities and personality.\u201d \u2014 \u003cem\u003eArkansas Democrat-Gazette\u003c\/em\u003e, reviewing a performance with Symphony of Northwest Arkansas (SoNA)\u003c\/p\u003e\u003cp\u003e\u00a0\u003c\/p\u003e\u003cp\u003e\u201cPaul Haas\u2026offered a passionate, refined and keenly balanced account of the opera.\u201d \u2014 \u003cem\u003eThe New York Times\u003c\/em\u003e, reviewing Montemezzi\u2019s opera \u201cL\u2019amore dei tre re\u201d in New York City\u003c\/p\u003e\u003cp\u003e\u00a0\u003c\/p\u003e\u003cp\u003e\u201cGuest conductor Paul Haas\u2026shook up the orchestra, opening up new expressive possibilities\u2026he drew the orchestra through nitty-gritty explorations of the scores, building out from the details to tell big, gutsy stories. In Samuel Barber\u2019s \u2018Adagio for Strings\u2019, which opened the program, his flowing-waters baton shaped a mysterious whispered response from the players. Incrementally, the performance ascended to a rare fervor. Closing the program, Schubert\u2019s Symphony No. 9 (\u2018The Great\u2019) grew in waves: pastoral, light on its feet, pouncing. A startlingly articulated sound was emerging, a thoughtful blending and highlighting of sections that seemed on the verge of releasing this already fine orchestra\u2019s \u2018inner voice\u2019. If only Haas could come back, we might get to hear some Wurlitzer-sized surprises.\u201d \u2014 \u003cem\u003eSan Jose Mercury News\u003c\/em\u003e, reviewing a performance with Symphony Silicon Valley\u003c\/p\u003e\u003cp\u003e\u00a0\u003c\/p\u003e\u003cp\u003e\u201cThe man has the potential to be a great conductor, and a radical one: just what Berkeley needs\u2026Frankly, I have seldom heard the orchestra play better than under his baton\u2026he has the gift of seeing the big picture\u2026his superfast finale brought home the bacon; this time the contrast made the notes leap off the page, the orchestra played with aplomb, and at the conclusion the audience rose with tremendous cheers of excitement. Haas is the youngest conductor I have heard who could probably do the massive symphonies of Anton Bruckner justice\u2026Haas studied the Tchaikovsky score so thoroughly that he conducted it from memory, gave a short lecture to the audience about its relationship to Beethoven\u2019s Fifth Symphony, and even wrote the program notes for the work.\u201d \u2014 \u003cem\u003eSan Francisco Classical Voice\u003c\/em\u003e, reviewing a performance with the Berkeley Symphony Orchestra\u003c\/p\u003e\u003cp\u003e\u00a0\u003c\/p\u003e\u003cp\u003e\u201cMr. Haas is an energetic conductor who believes in what he is doing and knows how to do it. Thomas Beecham liked to say that successful conducting was the ability to hire good musicians, and Mr. Haas has assembled a first-rate band of young people\u2026confident, well-rehearsed performances\u2026Good luck to Sympho\u2026it deserves to prosper.\u201d \u2014 \u003cem\u003eThe New York Times\u003c\/em\u003e, reviewing a performance with Sympho\u003c\/p\u003e\u003cp\u003e\u00a0\u003c\/p\u003e\u003cp\u003e\u201c\u2026a dazzling new concert format has been launched, moving us into the future by a century or two. Or maybe a millennium or two. This was a true ear-opener \u2014 and eye-opener too\u2026Credit the fast-rising guest conductor Paul Haas from New York \u2014 a real find! \u2014 not only for bringing off the modern program, but also for extraordinary eloquence in leading these locals and making them sound like a million-dollar ensemble. His reading of Schoenberg\u2019s mystical \u2018Transfigured Night\u2019 was to die for, as dramatic and sensitive as any you have ever heard.\u201d \u2014 artssf.com, reviewing a performance with Sympho\u003c\/p\u003e\u003cp\u003e\u00a0\u003c\/p\u003e\u003cp\u003e\u201c\u2026 the center of the evening was the supercharged Romanticism of Schoenberg\u2019s \u2018Verkl\u00e4rte Nacht\u2019, performed with passion and beauty by Mr. Haas and his young players\u2026\u201d \u2014 \u003cem\u003eThe New York Times\u003c\/em\u003e , reviewing a performance with The Knights and Sympho\u003c\/p\u003e\u003cp\u003e\u00a0\u003c\/p\u003e\u003cp\u003e\u201cPaul Haas, the group\u2019s dynamic young music director\u2026is surely on the brink of a noteworthy career, judging by the evidence of his work with this fine group\u2026Every note and gesture in the score could be discerned in his exacting stick technique and body language as he steered his players through a compelling performance.\u201d \u2014 \u003cem\u003eThe New York Times\u003c\/em\u003e, reviewing a concert with the New York Youth Symphony\u003c\/p\u003e\u003cp\u003e\u00a0\u003c\/p\u003e\u003cp\u003e\u201cAn accomplished performance of the Mahler Sixth\u2026this was an involving and brave account of Mahler\u2019s 85-minute score\u2026visceral power, unerring ensemble\u2026in the wistful Andante, disarming tenderness\u2026And Mr. Haas conducted it from memory, winning enthusiastic applause\u2026during a long ovation.\u201d \u2014 \u003cem\u003eThe New York Times\u003c\/em\u003e, reviewing a concert with the New York Youth Symphony\u003c\/p\u003e\u003cp\u003e\u00a0\u003c\/p\u003e\u003cp\u003e\u201cOn the basis of yesterday\u2019s SDCO concert in Sherwood Hall, I am almost tempted to say \u2013 Stop the whole competition right now and hire Paul Haas. He\u2019s your man. I have never heard this orchestra in better form under anybody else\u2026Haas is clearly off on an impressive start to what is likely to be a highly successful career\u2026Not only did Haas have the strings rushing almost flawlessly thought the exhilarating 16th notes of the finale, and not only were all tempos for all the movements well chosen and the orchestral attacks crisp and clean, Haas managed to get the balances just right under seemingly impossible conditions\u2026Haas infused the \u2018Haffner\u2019 with the same combination of enthusiasm and musical intelligence he brought to the Beethoven.\u201d \u2014 SanDiego.com, reviewing a concert with the San Diego Chamber Orchestra\u003c\/p\u003e\u003cp\u003e\u00a0\u003c\/p\u003e\u003cp\u003e\u201cA zesty and beautifully polished reading\u2026\u201d \u2014 \u003cem\u003eThe New York Times\u003c\/em\u003e, reviewing a concert with the New York Youth Symphony\u003c\/p\u003e\u003cp\u003e\u00a0\u003c\/p\u003e\u003cp\u003e\u201cThe young conductor Paul Haas was all about fresh thinking and visceral engagement. His music-making provided consistent surprises all evening \u2014 not from the kind of attention-hogging interpretive gestures you might expect in a conductor of his years, but from cogent ideas that revealed a keen musical mind and an impressive feeling for the natural pulse and trajectory of a score. Wagner\u2019s \u2018Tannh\u00e4user\u2019 Overture proceeded in a single, unbroken arc from the beautifully blended wind chords of the opening through the brass iteration of the Pilgrims\u2019 Chorus theme at the conclusion (phrased opulently here, with a lyricism not confined by bar lines). His tempos \u2014 forward-moving but never rushed \u2014 sounded utterly convincing, thanks to his skill at melding and tapering phrases to create a sense of gradually unfolding drama. Haas\u2026was even finer in Tchaikovsky\u2019s Symphony No. 4. Consistently drawing parallels between this work and its darker, more sublime cousin, the Sixth Symphony, he also tapped a vein of restless, ruminative emotion that brought to mind the composer\u2019s operatic magnum opus, \u2018The Queen of Spades\u2019. More often than not, Haas took his time with the score, allowing Tchaikovsky\u2019s brooding colors to fully distill. Yet, when speed and rafter-ringing power were required (as in the final movement), the conductor delivered, generating thrills without breathlessness or coarse tone. Indeed, throughout the evening, Haas\u2019s sensitivity to rhythmic and dynamic gradation, and his ability to marry heartfelt expression with disciplined playing from the NSO\u2026would have been impressive in a conductor three times his age. If Thursday\u2019s concert was an accurate barometer of his talents, Haas is headed for a significant podium career.\u201d \u2014 \u003cem\u003eThe Washington Post,\u003c\/em\u003e reviewing a concert with Itzhak Perlman and the National Symphony Orchestra at the Wolf Trap Festival.\u003c\/p\u003e\u003cp\u003e\u00a0\u003c\/p\u003e,backupValue:null,version:1},text2:{type:RichText,id:f_f7d98653-c286-4d9b-8269-edc47efff4a2,defaultValue:false,value:,backupValue:\u003cdiv style\text-align: left;\\u003e\u003c\/div\u003e,version:1},text1:{type:RichText,id:f_812a0bc0-07c0-4aef-a9d5-38cb184f6c7d,defaultValue:false,value:\u003cp style\text-align:left\\u003ePress Response (Conducting)\u003c\/p\u003e,backupValue:null,version:1},media1:{type:Media,id:f_675f52b2-bb57-4339-a565-0ce2112e348e,defaultValue:false,video:{type:Video,id:f_a6d27019-afe6-4931-a22f-aec28163e206,defaultValue:null,html:\u003ciframe src\http:\/\/player.vimeo.com\/video\/12236680?title1\u0026byline1\u0026portrait1\ width\700\ height\394\ frameborder\0\ webkitallowfullscreen mozallowfullscreen allowfullscreen\u003e\u003c\/iframe\u003e,url:https:\/\/vimeo.com\/12236680,thumbnail_url:null,maxwidth:700,description:null},image:{type:Image,id:f_0519c743-7aaa-40bb-8810-5848722230b2,defaultValue:null,link_url:,thumb_url:\/assets\/icons\/transparent.png,url:\/assets\/icons\/transparent.png,caption:,description:,storageKey:null,storage:null,storagePrefix:null,format:null,h:null,w:null,s:null,new_target:true,noCompression:null,cropMode:null,focus:null},current:image},button1:{type:Button,id:f_88303eb9-855a-4b0f-b6ac-594609a803fa,defaultValue:true,text:,link_type:null,page_id:null,section_id:null,url:,new_target:null}}},{type:RepeatableItem,id:f_a8d3fa6a-882a-4ff6-a400-750480812b4b,defaultValue:null,components:{text3:{type:RichText,id:f_bfd48183-22af-431e-ae90-49544a1802ba,defaultValue:false,value:\u003cp style\text-align:left\\u003e\u201cREWIND refits the classical experience for a new century\u2026 You had the feeling of being with musicians, not just observing them\u2026 Traditional audiences demand to have their say, but here all stilted, ritual interruptions were squelched\u2026 The come-on to newcomers was clear: \Look, we can be hip too.\ Yet the center of the evening was the supercharged Romanticism of Schoenbergs \Verkl\u00e4rte Nacht,\ performed with passion and beauty by Mr. Haas and his young players\u2026 \Rewind\ seemed to involve its young and substantial audience so acutely because the music and the musicians were very good\u2026 It also worked because the physical format made sure that classical musics bad habits didnt have a chance.\u201d \u2014 \u003cem\u003eThe New York Times\u003c\/em\u003e\u003c\/p\u003e\u003cp style\text-align:left\\u003e\u00a0\u003c\/p\u003e\u003cp\u003e\u201cThe pi\u00e8ce d\u2019occasion turned out to be ARCO, a surprisingly mellow yet stubbornly complex essay in communal mysticism\u2026fraught with intellectual subtlety and evolutionary significance\u2026just sit back, relax and enjoy the exotic ride.\u201d \u2014 \u003cem\u003eFinancial Times\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u00a0\u003c\/p\u003e\u003cp\u003e\u201ca mixed-media sensory experience that was like nothing I\u2019ve seen before and, dare I say it, it even bordered on the spiritual.\u201d \u2014 Salon.com\u003c\/p\u003e\u003cp\u003e\u00a0\u003c\/p\u003e\u003cp\u003e\u201cARCO\u2026unfolded as a continuous, 90-minute, period- and style-hopping stream. A collaboration among the composers Paul Haas, Bora Yoon and Paul Fowler, ARCO borrows a couple of concepts from pop music: the mash-up, in which unrelated pieces are melded together, and the remix, which embellishes and reconstitutes familiar music\u2026The music was gently meditative\u2026exquisite.\u201d \u2014 \u003cem\u003eThe New York Times\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u00a0\u003c\/p\u003e\u003cp\u003e\u201cThe effect is haunting and evocative\u2026 a continuous cascade of music and visuals, unfamiliar and familiar, challenging and sublime\u2026 Haas gutsy conducting style, as is usual for him, is energetic and elastic while being in control of and sensitive to changes in tempo, rhythm and dynamics. He throws his entire body into the performance in a way that has been continually lauded by critics since his professional debut in 1997\u2026 there is a frisson in the air, a sense among the audience members that something momentous has occurred in those 100 minutes as they step back onto the gritty streets of the Lower East Side.\u201d \u2014 \u003cem\u003eSan Francisco Chronicle\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u00a0\u003c\/p\u003e\u003cp\u003e\u201cIt\u2019s high time these brilliant artists got access to a stage and audience worthy of their invention\u2026ARCO echoed with all the weight of the hall\u2019s history as both performance venue and practice site for armed battle\u2026the ambition and scope of this new work were impossible to ignore.\u201d \u2014 feastofmusic.com\u003c\/p\u003e\u003cp\u003e\u00a0\u003c\/p\u003e\u003cp\u003e\There was a genuine sense of event...it certainly exploded any notion I have of an orchestral concert. It felt as if something important was happening, something with emotional stakes, and it felt like I was a part of it.\ \u2014 \u003cem\u003eSymphony Magazine\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u00a0\u003c\/p\u003e\u003cp\u003e\\u2026the audience was entranced by an idiosyncratic, intermission-free program that was arranged like an iPod playlist.\ \u2014 \u003cem\u003eThe New Yorker\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u00a0\u003c\/p\u003e\u003cp\u003e\Newcomers to classical music get mystified by the protocols of the concert hall. The quasi-religious veneration of the event. The no coughing. The no clapping between movements of a given piece. The lack of visual stimulation, aside from staring at the musicians up on stage - rows of penguins, in black-and-white formal dress - for a couple of hours. Much of this was flipped on its head by Saturdays terrific \REWIND\ program by the New Century Chamber Orchestra, led by Paul Haas, its guest conductor, at the Yerba Buena Center for the Arts Forum in San Francisco. It stimulated more than the ears. It had an indie-rock hipness about it. It was fun, even: Imagine! And best of all, the music, which sampled centuries, from Baroque (Purcell, Corelli) to brash or bluesy modern repertory (Alfred Schnittke, James MacMillan), was smartly stitched together and beautifully played.\ \u2014 \u003cem\u003eSan Jose Mercury News\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u00a0\u003c\/p\u003e\u003cp\u003e\REWIND fast-forwards the traditional concert via hip, multisensory stimulation that includes creative lighting, a kinetic sculpture suspended from the ceiling, electronic music, and innovative use of the performance space\u2026 In short, from innovative programming to awe-inspiring visuals, REWIND sought to keep its audience engaged. But did the performance succeed in doing so? It certainly did, according to my date for the evening, a nonmusician whom I have dragged to countless concerts. He said REWIND was the best concert we have ever attended together. He is neither a classical music aficionado nor someone over the age of 40, and precisely for those reasons, he falls within the program\u2019s target audience. Judging by his opinion, REWIND resoundingly achieved its goal of engaging this group\u2026 The youngish audience gave it a standing ovation.\ \u2014 \u003cem\u003eSan Francisco Classical Voice\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u00a0\u003c\/p\u003e\u003cp\u003e\\u2026a dazzling new concert format has been launched, moving us into the future by a century or two. Or maybe a millennium or two. This was a true ear-opener -- and eye-opener too\u2026Credit the fast-rising guest conductor Paul Haas from New York -- a real find! -- not only for bringing off the modern program, but also for extraordinary eloquence in leading these locals and making them sound like a million-dollar ensemble. 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s-section >div classlazyload s-bg-image s-bg-blurred s-bg-light-text s-persona-bg background-image stylebackground-repeat:no-repeat;background-size:unset;background-color:transparent;background-position:50% 50%;background-image:url(//custom-images.strikinglycdn.com/res/hrscywv4p/image/upload/c_limit,fl_lossy,h_1500,w_2000,f_auto,q_1/28671/d5c6dbcc6690448ab11d47d5d986e1c3_r4xxo5.jpg) data-bg//custom-images.strikinglycdn.com/res/hrscywv4p/image/upload/c_limit,fl_lossy,h_1500,w_2000,f_auto,q_auto/28671/d5c6dbcc6690448ab11d47d5d986e1c3_r4xxo5.jpg data-react-style{"backgroundRepeat":"no-repeat","backgroundSize":"unset","backgroundColor":"transparent","backgroundPosition":"50% 50%"}>style data-emotioncss 1tnf9eu>.css-1tnf9eu{position:absolute;top:0;left:0;width:100%;height:100%;line-height:1;-webkit-backdrop-filter:blur(10px);-webkit-backdrop-filter:blur(10px);backdrop-filter:blur(10px);-webkit-transition:all ease-in 0.2s;transition:all ease-in 0.2s;}.css-1tnf9eu.loaded{-webkit-backdrop-filter:blur(0px);-webkit-backdrop-filter:blur(0px);backdrop-filter:blur(0px);visibility:hidden;}/style>div classblurred-layer css-1tnf9eu css-1g80h9c0>/div>div classcontainer>div classcolumns offset-three twelve>div classs-title-group >div classs-title >div classs-component s-text>div class>div classs-component-content s-font-title stylewhite-space:pre-wrap>h1>p>PAUL HAAS/p>p>conductor,/p>p>composer,/p>p>and/p>p>installation artist/p>/h1>/div>/div>/div>/div>div classs-subtitle>div classs-component s-text>div class>/div>/div>/div>/div>/div>/div>/div>div classs-persona-content>div classcontainer>div classcolumns offset-three twelve>div classs-component s-text>div class>div classs-component-content s-font-body stylewhite-space:pre-wrap>div classs-rich-text-wrapper styledisplay: block;>p classs-rich-text-wrapper s-rich-text-wrapper s-rich-text-wrapper stylefont-size: 130%;>Welcome to paulhaas.com. I’m a conductor and composer, and a large part of my work involves creating musical and visual experiences for unusual venues. I serve as Music Director of the a hrefhttp://www.sonamusic.org data-type target_blank>Symphony of Northwest Arkansas/a> and have had the pleasure of creating radically engaging live orchestral experiences for some of the most iconic venues in North America. Plus, Im in the midst of starting an organic, self-sustaining homestead with my family./p>p>span styledisplay: inline-block> /span>/p>p stylefont-size: 130%;>I invite you to scroll down and learn more about me. Then, if youd like, a hrefhttp://www.paulhaas.com/#contact-form data-type target_blank>join my mailing list/a> or a hrefhttp://www.paulhaas.com/#contact-form data-type target_blank>send me a message/a>./p>/div>/div>/div>/div>/div>/div>/div>/div>/div>/li>li classslide s-section-2 idsection-f_3fd8c915-e76b-497e-ad3a-6c5e6e1b5fd3>div classwaypoint>/div>div classsection-anchor>/div>div> div classlazyload s-new-media-section s-section s-columns-section s-media-new-mobile-layout background-image data-react-style{}>div classlazyload s-bg-image s-bg-blurred s-bg-light-text s-persona-bg background-image stylebackground-repeat:no-repeat;background-size:cover;background-color:transparent;background-position:50% 50%;background-image:url(//custom-images.strikinglycdn.com/res/hrscywv4p/image/upload/c_limit,fl_lossy,h_1500,w_2000,f_auto,q_1/28671/DSC09864_juegv3.jpg) data-bg//custom-images.strikinglycdn.com/res/hrscywv4p/image/upload/c_limit,fl_lossy,h_1500,w_2000,f_auto,q_auto/28671/DSC09864_juegv3.jpg data-react-style{"backgroundRepeat":"no-repeat","backgroundSize":"cover","backgroundColor":"transparent","backgroundPosition":"50% 50%"}>style data-emotioncss 1tnf9eu>.css-1tnf9eu{position:absolute;top:0;left:0;width:100%;height:100%;line-height:1;-webkit-backdrop-filter:blur(10px);-webkit-backdrop-filter:blur(10px);backdrop-filter:blur(10px);-webkit-transition:all ease-in 0.2s;transition:all ease-in 0.2s;}.css-1tnf9eu.loaded{-webkit-backdrop-filter:blur(0px);-webkit-backdrop-filter:blur(0px);backdrop-filter:blur(0px);visibility:hidden;}/style>div classblurred-layer css-1tnf9eu css-1g80h9c0>/div>div classcontainer>div classcolumns offset-three twelve>div classs-title-group >div classs-title sb-title-right-align>div classs-component s-text>div class>div classs-component-content s-font-title stylewhite-space:pre-wrap>h2>p styletext-align: right; classs-text-color-orange>my work/p>/h2>/div>/div>/div>/div>div classs-subtitle>div classs-component s-text>div class>/div>/div>/div>/div>/div>/div>/div>div classs-persona-content>div classcontainer>div classalpha columns offset-three omega thirteen> div classs-mh s-repeatable>div classs-section-item-wrapper>div data-sorting-index0 classeight columns no-float s-repeatable-item>div classclearfix>div>div classs-item-media-wrapper s-mhi >div classs-item-media-group>div classs-component s-media >div>div classs-component-content>div classs-video-content>div classs-component s-async-wrapper>div classs-loading>/div>div classwaypoint>/div>/div>/div>/div>/div>/div>/div>/div>div class>div classs-item-text-group >div classs-item-title>div classs-component s-text>div class>div classs-component-content s-font-heading stylewhite-space:pre-wrap>h3>p>A sampling of my installations/p>/h3>/div>/div>/div>/div>div classs-item-subtitle>div classs-component s-text>div class>div classs-component-content s-font-body stylewhite-space:pre-wrap>h6>div classs-rich-text-wrapper styledisplay: block;>p>A fast-motion tour of it all, from Bionic Symphony to ARCO and TOWER, with everything in between./p>/div>/h6>/div>/div>/div>/div>div classs-item-text>div classs-component s-text>div class>/div>/div>/div>/div>/div>/div>/div>/div>div data-sorting-index1 classeight columns no-float s-repeatable-item>div classclearfix>div>div classs-item-media-wrapper s-mhi >div classs-item-media-group>div classs-component s-media >div>div classs-component-content>div classs-video-content>div classs-component s-async-wrapper>div classs-loading>/div>div classwaypoint>/div>/div>/div>/div>/div>/div>/div>/div>div class>div classs-item-text-group >div classs-item-title>div classs-component s-text>div class>div classs-component-content s-font-heading stylewhite-space:pre-wrap>h3>p>TOWER/p>/h3>/div>/div>/div>/div>div classs-item-subtitle>div classs-component s-text>div class>div classs-component-content s-font-body stylewhite-space:pre-wrap>h6>p>An installation I created with Bora Yoon and Christopher Bono in Ann Hamiltons iconic 80-foot-tall venue./p>/h6>/div>/div>/div>/div>div classs-item-text>div classs-component s-text>div class>/div>/div>/div>/div>/div>/div>/div>/div>div data-sorting-index2 classeight columns no-float s-repeatable-item>div classclearfix>div>div classs-item-media-wrapper s-mhi >div classs-item-media-group>div classs-component s-media >div>div classs-component-content>div classs-video-content>div classs-component s-async-wrapper>div classs-loading>/div>div classwaypoint>/div>/div>/div>/div>/div>/div>/div>/div>div class>div classs-item-text-group >div classs-item-title>div classs-component s-text>div class>div classs-component-content s-font-heading stylewhite-space:pre-wrap>h3>p>State of Grace - Documentary/p>/h3>/div>/div>/div>/div>div classs-item-subtitle>div classs-component s-text>div class>div classs-component-content s-font-body stylewhite-space:pre-wrap>h6>p>An extraordinarily insightful making of about State of Grace, my 75-minute piece for Grace Cathedral in San Francisco (a collaboration with a hrefhttp://www.annepatterson.com/Welcome/about.htm>Anne Patterson/a>)/p>/h6>/div>/div>/div>/div>div classs-item-text>div classs-component s-text>div class>div classs-component-content s-font-body stylewhite-space:pre-wrap>div classs-rich-text-wrapper styledisplay: block;>p>span styledisplay: inline-block> /span>/p>p>span styledisplay: inline-block> /span>/p>p classs-text-color-red>span classs-text-color-red>Like these? See a whole lot more /span>span classs-text-color-red>a hrefhttps://vimeo.com/user1872922 data-type target_blank>here/a>/span>span classs-text-color-red>!/span>/p>/div>/div>/div>/div>/div>/div>/div>/div>/div>/div>div data-sorting-index3 classeight columns no-float s-repeatable-item>div classclearfix>div>div classs-item-media-wrapper s-mhi >div classs-item-media-group>div classs-component s-media >div>div classs-component-content>div classs-video-content>div classs-component s-async-wrapper>div classs-loading>/div>div classwaypoint>/div>/div>/div>/div>/div>/div>/div>/div>div class>div classs-item-text-group >div classs-item-title>div classs-component s-text>div class>div classs-component-content s-font-heading stylewhite-space:pre-wrap>h3>p>REWIND: concert trailer/p>/h3>/div>/div>/div>/div>div classs-item-subtitle>div classs-component s-text>div class>div classs-component-content s-font-body stylewhite-space:pre-wrap>h6>p>Here are gorgeous images of my first installation ever (featuring a hrefhttp://anneakikomeyers.com>Anne Akiko Meyers/a> and a hrefhttp://www.theknightsnyc.com>The Knights/a>, along with sumptuous art by a hrefhttp://www.kateraudenbush.com>Kate Raudenbush/a>)/p>/h6>/div>/div>/div>/div>div classs-item-text>div classs-component s-text>div class>/div>/div>/div>/div>/div>/div>/div>/div>/div>/div> /div>/div>/div>/div>/div>/li>li classslide s-section-3 idsection-f_711caef4-3e8e-4cb6-ba3f-63dd9e4deff3>div classwaypoint>/div>div classsection-anchor>/div>div classs-html-section s-section>div classlazyload s-bg-image s-bg-blurred s-bg-light-text s-persona-bg background-image stylebackground-repeat:no-repeat;background-size:cover;background-color:transparent;background-position:50% 50%;background-image:url(//custom-images.strikinglycdn.com/res/hrscywv4p/image/upload/c_limit,fl_lossy,h_1500,w_2000,f_auto,q_1/28671/IMG_1656_kmdsua.jpg) data-bg//custom-images.strikinglycdn.com/res/hrscywv4p/image/upload/c_limit,fl_lossy,h_1500,w_2000,f_auto,q_auto/28671/IMG_1656_kmdsua.jpg data-react-style{"backgroundRepeat":"no-repeat","backgroundSize":"cover","backgroundColor":"transparent","backgroundPosition":"50% 50%"}>style data-emotioncss 1tnf9eu>.css-1tnf9eu{position:absolute;top:0;left:0;width:100%;height:100%;line-height:1;-webkit-backdrop-filter:blur(10px);-webkit-backdrop-filter:blur(10px);backdrop-filter:blur(10px);-webkit-transition:all ease-in 0.2s;transition:all ease-in 0.2s;}.css-1tnf9eu.loaded{-webkit-backdrop-filter:blur(0px);-webkit-backdrop-filter:blur(0px);backdrop-filter:blur(0px);visibility:hidden;}/style>div classblurred-layer css-1tnf9eu css-1g80h9c0>/div>div classcontainer>div classcolumns offset-three twelve>div classs-title-group >div classs-title sb-title-right-align>div classs-component s-text>div class>div classs-component-content s-font-title stylewhite-space:pre-wrap>h2>div classs-rich-text-wrapper styledisplay: block;>p classs-text-color-orange styletext-align: right;>span classs-text-color-orange>audio/span>/p>/div>/h2>/div>/div>/div>/div>div classs-subtitle>div classs-component s-text>div class>/div>/div>/div>/div>/div>/div>/div>div classs-persona-content>div classcontainer>div classcolumns offset-three twelve>div classs-component s-html-component>div classs-component-content-wrapper>div classs-component-content s-font-body>div>/div>/div>/div>/div>/div>/div>/div>/div>/li>li classslide s-section-4 idsection-f_f10f8e97-f249-4fa0-afa6-f95b2814cb7b>div classwaypoint>/div>div classsection-anchor>/div>div> div classlazyload s-new-media-section s-section s-media-section s-media-new-mobile-layout background-image data-react-style{}>div classlazyload s-bg-image s-bg-blurred s-bg-light-text s-persona-bg background-image stylebackground-repeat:no-repeat;background-size:cover;background-color:transparent;background-position:50% 50%;background-image:url(https://user-images.strikinglycdn.com/res/hrscywv4p/image/upload/c_limit,h_1200,w_2000,q_90,fl_progressive/uunfedheurkcco9z5hi7.jpg) data-bghttps://user-images.strikinglycdn.com/res/hrscywv4p/image/upload/c_limit,h_1200,w_2000,q_90,fl_progressive/uunfedheurkcco9z5hi7.jpg data-react-style{"backgroundRepeat":"no-repeat","backgroundSize":"cover","backgroundColor":"transparent","backgroundPosition":"50% 50%"}>style data-emotioncss 1tnf9eu>.css-1tnf9eu{position:absolute;top:0;left:0;width:100%;height:100%;line-height:1;-webkit-backdrop-filter:blur(10px);-webkit-backdrop-filter:blur(10px);backdrop-filter:blur(10px);-webkit-transition:all ease-in 0.2s;transition:all ease-in 0.2s;}.css-1tnf9eu.loaded{-webkit-backdrop-filter:blur(0px);-webkit-backdrop-filter:blur(0px);backdrop-filter:blur(0px);visibility:hidden;}/style>div classblurred-layer css-1tnf9eu css-1g80h9c0>/div>div classwaypoint>/div>div classcontainer>div classcolumns offset-three twelve>div classs-title-group >div classs-title sb-title-center-align>div classs-component s-text>div class>div classs-component-content s-font-title stylewhite-space:pre-wrap>h2>p styletext-align:center classs-text-color-orange>bio/p>/h2>/div>/div>/div>/div>div classs-subtitle>div classs-component s-text>div class>/div>/div>/div>/div>/div>/div>/div>div classs-persona-content>div classcontainer>div classalpha columns offset-three omega thirteen> div classs-mh s-layout-normal s-repeatable>div classs-section-item-wrapper>div data-sorting-index0 class s-repeatable-item>div classclearfix>div>div class>div classs-item-text-group >div classs-item-title>div classs-component s-text>div class>div classs-component-content s-font-heading stylewhite-space:pre-wrap>h3>p styletext-align:left>BIO/p>/h3>/div>/div>/div>/div>div classs-item-subtitle>div classs-component s-text>div class>/div>/div>/div>div classs-item-text>div classs-component s-text>div class>div classs-component-content s-font-body stylewhite-space:pre-wrap>p>Paul Haas was at the start of a promising conducting career when he devised and produced a concert project called a target_blank hrefhttp://symphoconcerts.org/rewind_program.php>REWIND/a> in 2006, featuring composer and musician colleagues and violin soloist a target_blank hrefhttp://anneakikomeyers.com>Anne Akiko Meyers/a>. REWIND was a reaction against the staid nature of the standard classical music performance: audience members surrounded the performers, then left and started playing behind the audience on all sides. There were mirrored sculptures by a target_blank hrefhttp://www.kateraudenbush.com/#home-navigation>Kate Raudenbush/a> hanging from the ceiling, interacting in multifaceted ways with the subtle theatrical lighting design. Music started before the audience arrived, and it continued without pause – even between pieces – until after the audience left. A laptop artist injected samples of the orchestra and the audience into the texture./p>p> /p>p>REWIND had great success, prompting Haas to found a target_blank hrefhttp://symphoconcerts.org>Sympho/a>, an organization devoted to the creation and performance of symphonic experiences in unusual venues. One critic, writing in em>Time Out NY/em>, even called Haas visionary.’ But what touched Haas more were comments from those involved in the performance, from musicians and members of the audience. “I cannot remember a night at the symphony that was so transcendently beautiful. It was the kind of experience one hopes comes in the hereafter,” said one audience member after Sympho’s second concert, a target_blank hrefhttp://symphoconcerts.org/traces_program.php>TRACES/a>. Another said, “Although I get to enjoy live music on occasion, it is never with the intimacy, originality, and fervor that we saw last night.”/p>/div>/div>/div>/div>/div>/div>/div>/div>/div>div data-sorting-index1 class s-repeatable-item>div classclearfix>div>div class>div classs-item-text-group >div classs-item-title>div classs-component s-text>div class>div classs-component-content s-font-heading stylewhite-space:pre-wrap>h3>p styletext-align:left>“I cannot remember a night at the symphony that was so transcendently beautiful. It was the kind of experience one hopes comes in the hereafter”/p>/h3>/div>/div>/div>/div>div classs-item-subtitle>div classs-component s-text>div class>/div>/div>/div>div classs-item-text>div classs-component s-text>div class>div classs-component-content s-font-body stylewhite-space:pre-wrap>div classs-rich-text-wrapper styledisplay: block;>p classs-rich-text-wrapper>“As I reflected on these various creations, I found they went far beyond novelty, resonating deeply with my own ideas, with my search for meaning,” Haas says. The inspiration for Haas’ work comes from a wide array of spiritual and ecological sources, including a longstanding meditation practice and a deep connection to the earth that finds Haas, along with his wife Suzette and two young girls, in the process of beginning an organic homestead that aims eventually to be self-sustaining. His deep concern for the land, for the Earth, and for all its inhabitants, have led him to create art where, as Haas says, “beauty is the only artistic choice: not saccharine, sometimes painful, but always immediate and always real. I’m always striving to connect deep within to that place in each of us that craves beauty, that craves love.”/p>p>span styledisplay: inline-block> /span>/p>p>One result of Haas’ immersion in this creative process is his emergence as a composer: over the last 15 years, over 30 commissions have come in from a wide variety of iconic venues, including the a hrefhttps://vimeo.com/28252567 data-type target_blank>Park Avenue Armory/a> and a hrefhttp://www.elliottforrest.com/comic-book-live.html data-type target_blank>Rubin Museum of Art/a> in New York, a hrefhttps://vimeo.com/98887083 data-type target_blank>Grace Cathedral/a> in San Francisco, the a hrefhttp://www.derekcote.com/legends data-type target_blank>Anchorage Museum of Art/a> in Alaska, and the Fay Jones School of Architecture and Design in Arkansas. Haas is the first artist ever to receive two separate commissions from the a hrefhttps://vimeo.com/69135920 data-type target_blank>Oliver Ranch Foundation/a> in Sonoma County, California, creating installations for Ann Hamilton’s groundbreaking Tower, an 80-foot-tall concrete tower with interior double-helix staircases. Haas explains why unusual venues figure so prominently in his output: “My work always celebrates space and our place within it. So many of us are disconnected from our surroundings, and it can be profoundly healing to become aware of – and even celebrate – where we are and how we fit in.”/p>/div>/div>/div>/div>/div>/div>/div>/div>/div>/div>div data-sorting-index2 class s-repeatable-item>div classclearfix>div>div class>div classs-item-text-group >div classs-item-title>div classs-component s-text>div class>div classs-component-content s-font-heading stylewhite-space:pre-wrap>h3>div classs-rich-text-wrapper styledisplay: block;>p styletext-align: left;>“My work always celebrates space and our place within it. So many of us are disconnected from our surroundings, and it can be profoundly healing to become aware of – and even celebrate – where we are and how we fit in.”/p>/div>/h3>/div>/div>/div>/div>div classs-item-subtitle>div classs-component s-text>div class>/div>/div>/div>div classs-item-text>div classs-component s-text>div class>div classs-component-content s-font-body stylewhite-space:pre-wrap>div classs-rich-text-wrapper styledisplay: block;>p classs-rich-text-wrapper s-rich-text-wrapper s-rich-text-wrapper s-rich-text-wrapper s-rich-text-wrapper s-rich-text-wrapper s-rich-text-wrapper>An equally rich part of Haas’ professional life is his service as Music Director of the a hrefhttp://www.sonamusic.org data-type target_blank>Symphony of Northwest Arkansas/a> (SoNA) since 2010. An extraordinarily supportive community and the orchestra’s connection with an appreciative and faithful audience have allowed SoNA to grow its operations substantially, necessitating a fourfold increase in its operating budget. “I’m so proud of all we’re accomplishing,” says Haas. “When you look at the orchestral landscape across the country, it’s heartening to see examples of success – of true community engagement – like this one. It really is a unique situation.” SoNA’s fans are equally proud; one wrote to Haas, “You are truly a breath of fresh air – I love your youthful exuberance, and it’s easy to see that your players are really joining you in true music-making. That, my friend, is not so easy to do these days. /p>p>span styledisplay: inline-block> /span>/p>p classs-rich-text-wrapper s-rich-text-wrapper s-rich-text-wrapper>So many professional orchestras tend to leave me, on one hand, very impressed with their impeccable intonation and their impressive ensemble playing, but on the other hand it seems as though many have played the standard literature so much that they have lost their love, true love for inspired playing. I haven’t really seen that before here until your arrival.” Haas recently completed a transformational tenure as Music Director of the Thunder Bay Symphony Orchestra, which is considered one of Canadas best regional orchestras and is noted for its history of innovative programming and important premieres. Over the course of six years, Haas accomplished his intended goals: he galvanized the community behind the TBSO, playing a pivotal role in raising the necessary funds both to pay down an accumulated decificit of over $500,000 and to lay down more than $400,000 in accumulated reserves./p>/div>/div>/div>/div>/div>/div>/div>/div>/div>/div>/div>/div> /div>/div>/div>/div>/div>/li>li classslide s-section-5 idsection-f_6d9e52d1-ec96-439f-8395-f1a570503a20>div classwaypoint>/div>div classsection-anchor>/div>div classs-gallery-section s-section>div classlazyload s-bg-image s-bg-blurred s-bg-light-text s-persona-bg background-image stylebackground-repeat:no-repeat;background-size:cover;background-color:transparent;background-position:50% 50%;background-image:url(https://user-images.strikinglycdn.com/res/hrscywv4p/image/upload/c_limit,h_1200,w_2000,q_90,fl_progressive/i5hyg0wmwouupt3zqtyz.jpg) data-bghttps://user-images.strikinglycdn.com/res/hrscywv4p/image/upload/c_limit,h_1200,w_2000,q_90,fl_progressive/i5hyg0wmwouupt3zqtyz.jpg data-react-style{"backgroundRepeat":"no-repeat","backgroundSize":"cover","backgroundColor":"transparent","backgroundPosition":"50% 50%"}>style data-emotioncss 1tnf9eu>.css-1tnf9eu{position:absolute;top:0;left:0;width:100%;height:100%;line-height:1;-webkit-backdrop-filter:blur(10px);-webkit-backdrop-filter:blur(10px);backdrop-filter:blur(10px);-webkit-transition:all ease-in 0.2s;transition:all ease-in 0.2s;}.css-1tnf9eu.loaded{-webkit-backdrop-filter:blur(0px);-webkit-backdrop-filter:blur(0px);backdrop-filter:blur(0px);visibility:hidden;}/style>div classblurred-layer css-1tnf9eu css-1g80h9c0>/div>div classwaypoint>/div>div classcontainer>div classcolumns offset-three twelve>div classs-title-group>div classs-title s-title-beta-s6>div classs-component s-text>div class>div classs-component-content s-font-title stylewhite-space:pre-wrap>h2 classs-title s-font-title>photos/h2>/div>/div>/div>/div>/div>/div>/div>/div>div classs-persona-content>div classcontainer>div classcolumns offset-three twelve styletransition:none>div classs-gallery s-gallery-columns-1>div>div>div classs-component s-gallery-item data-sorting-index0>div>div classs-component-content>div classimage-wrapper>a classitem data-description hrefhttps://user-images.strikinglycdn.com/res/hrscywv4p/image/upload/c_limit,h_900,w_1200/j4v4pvwdt8pwmdf12c5e.jpg data-typeimage data-caption aria-labelThumbnail Gallery>div classs-img-wrapper>div classs-ratio-box stylemax-width:500px;max-height:500px>div classs-ratio-fill stylepadding-bottom:100.00%>/div>div classs-img-wrapper>img altbroken image title classlazyload crop-default data-description data-image-linkjavascript:void(0); 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width500 height500 src//custom-images.strikinglycdn.com/res/hrscywv4p/image/upload/c_fill,fl_lossy,h_200,w_200,f_auto,g_faces:auto,q_1/28671/Paul_finale_cc8v6d.jpg data-src//custom-images.strikinglycdn.com/res/hrscywv4p/image/upload/c_fill,fl_lossy,h_200,w_200,f_auto,g_faces:auto,q_auto/28671/Paul_finale_cc8v6d.jpg/>/div>/div>/div>/a>/div>/div>/div>/div>div classs-component s-gallery-item data-sorting-index11>div>div classs-component-content>div classimage-wrapper>a classitem data-descriptionThis is what I look like on a jumbotron (photo credit: Laura Stanulis Wilkins) href//custom-images.strikinglycdn.com/res/hrscywv4p/image/upload/c_limit,fl_lossy,h_9000,w_1920,f_auto,q_auto/28671/FullSizeRender_oyobzu.jpg data-typeimage data-captionThis is what I look like on a jumbotron (photo credit: Laura Stanulis Wilkins) aria-labelThis is what I look like on a jumbotron (photo credit: Laura Stanulis Wilkins)>div classs-img-wrapper>div classs-ratio-box stylemax-width:500px;max-height:500px>div classs-ratio-fill stylepadding-bottom:100.00%>/div>div classs-img-wrapper>img altThis is what I look like on a jumbotron (photo credit: Laura Stanulis Wilkins) title classlazyload crop-default data-descriptionThis is what I look like on a jumbotron (photo credit: Laura Stanulis Wilkins) data-image-linkjavascript:void(0); width500 height500 src//custom-images.strikinglycdn.com/res/hrscywv4p/image/upload/c_fill,fl_lossy,h_200,w_200,f_auto,g_faces:auto,q_1/28671/FullSizeRender_oyobzu.jpg data-src//custom-images.strikinglycdn.com/res/hrscywv4p/image/upload/c_fill,fl_lossy,h_200,w_200,f_auto,g_faces:auto,q_auto/28671/FullSizeRender_oyobzu.jpg/>/div>/div>/div>/a>/div>/div>/div>/div>/div>/div>/div>/div>/div>/div>/div>/li>li classslide s-section-6 idsection-f_1f5faab0-9ea5-4a06-b054-6acc804b1203>div classwaypoint>/div>div classsection-anchor>/div>div> div classlazyload s-new-media-section s-section s-media-section s-media-new-mobile-layout background-image data-react-style{}>div classlazyload s-bg-image s-bg-blurred s-bg-light-text s-persona-bg background-image stylebackground-repeat:no-repeat;background-size:cover;background-color:transparent;background-position:50% 50%;background-image:url(https://user-images.strikinglycdn.com/res/hrscywv4p/image/upload/c_limit,h_1200,w_2000,q_90,fl_progressive/jzdvknpe4jdvgcjxzppq.jpg) data-bghttps://user-images.strikinglycdn.com/res/hrscywv4p/image/upload/c_limit,h_1200,w_2000,q_90,fl_progressive/jzdvknpe4jdvgcjxzppq.jpg data-react-style{"backgroundRepeat":"no-repeat","backgroundSize":"cover","backgroundColor":"transparent","backgroundPosition":"50% 50%"}>style data-emotioncss 1tnf9eu>.css-1tnf9eu{position:absolute;top:0;left:0;width:100%;height:100%;line-height:1;-webkit-backdrop-filter:blur(10px);-webkit-backdrop-filter:blur(10px);backdrop-filter:blur(10px);-webkit-transition:all ease-in 0.2s;transition:all ease-in 0.2s;}.css-1tnf9eu.loaded{-webkit-backdrop-filter:blur(0px);-webkit-backdrop-filter:blur(0px);backdrop-filter:blur(0px);visibility:hidden;}/style>div classblurred-layer css-1tnf9eu css-1g80h9c0>/div>div classwaypoint>/div>div classcontainer>div classcolumns offset-three twelve>div classs-title-group >div classs-title sb-title-right-align>div classs-component s-text>div class>div classs-component-content s-font-title stylewhite-space:pre-wrap>h2>p styletext-align: right; classs-text-color-orange>press response/p>/h2>/div>/div>/div>/div>div classs-subtitle>div classs-component s-text>div class>/div>/div>/div>/div>/div>/div>/div>div classs-persona-content>div classcontainer>div classalpha columns offset-three omega thirteen> div classs-mh s-layout-normal s-repeatable>div classs-section-item-wrapper>div data-sorting-index0 class s-repeatable-item>div classclearfix>div>div class>div classs-item-text-group >div classs-item-title>div classs-component s-text>div class>div classs-component-content s-font-heading stylewhite-space:pre-wrap>h3>p styletext-align:left>Press Response (Conducting)/p>/h3>/div>/div>/div>/div>div classs-item-subtitle>div classs-component s-text>div class>/div>/div>/div>div classs-item-text>div classs-component s-text>div class>div classs-component-content s-font-body stylewhite-space:pre-wrap>p>“The entertaining and imaginative Haas, a nationally acclaimed director, devotes considerable time and energy to creating unique and exciting performances… Haas had promised the finale would be an ‘unforgettable sonic experience.’ To me, that could pretty well describe the imminently indefatigable Haas himself… Haas doesn’t simply conduct these melodies. This man with a broad, endearing smile and a refreshingly dry sense of humor becomes one with the flourishes, swirls and rhythms. He also enjoys glancing over his shoulder at the audience and winking… The symphony heads into the new season expecting yet another round of sellout performances, deservedly so, in my book.” — em>Arkansas Democrat-Gazette/em>, reviewing a performance with Symphony of Northwest Arkansas (SoNA)/p>p styletext-align:left> /p>p>“The program was ambitious. The performance was electrifying. It was a concert that renews a community’s love of music and sends concertgoers clamoring for season tickets…Haas’ conducting was once again inspiring and filled with grace, elegance and confidence…The orchestra that enjoyed an auspicious last season was refocused for this one — perhaps re-galvanized is more accurate. There was an attitude of confidence with this orchestra that we hadn’t seen or heard before. Perhaps this was due to the sheer enjoyment of their newfound caliber of artistry. Perhaps it was due to the fact that they were consistently stunning. And they played like they knew it.” — em>City Wire/em>, reviewing a performance with Symphony of Northwest Arkansas (SoNA)/p>p> /p>p>“Paul Haas…managed to charm the audience again. It’s apparent to me that he has a natural gift for relating to people. He knows when to smile, to pause for effect, to wink at the thousands watching and to publicly recognize his musicians and even when to serve up his surprises. One of his greatest strengths, however, is simply understanding what kind of music and melodies will touch the hearts and souls of listeners and how to link those in the seats with their brethren in elegant black tie and gowns on the stage… — em>Arkansas Democrat-Gazette/em>, reviewing a performance with Symphony of Northwest Arkansas (SoNA)/p>p> /p>p>“Perhaps that’s also what’s behind the magic Haas conjures on stage. He looks for ways to be continually interactive with his audience. He seeks to make them feel an ownership of the evening…He lays it out at the gut level with humor and people respond both to the authenticity and his abilities and personality.” — em>Arkansas Democrat-Gazette/em>, reviewing a performance with Symphony of Northwest Arkansas (SoNA)/p>p> /p>p>“Paul Haas…offered a passionate, refined and keenly balanced account of the opera.” — em>The New York Times/em>, reviewing Montemezzi’s opera “L’amore dei tre re” in New York City/p>p> /p>p>“Guest conductor Paul Haas…shook up the orchestra, opening up new expressive possibilities…he drew the orchestra through nitty-gritty explorations of the scores, building out from the details to tell big, gutsy stories. In Samuel Barber’s ‘Adagio for Strings’, which opened the program, his flowing-waters baton shaped a mysterious whispered response from the players. Incrementally, the performance ascended to a rare fervor. Closing the program, Schubert’s Symphony No. 9 (‘The Great’) grew in waves: pastoral, light on its feet, pouncing. A startlingly articulated sound was emerging, a thoughtful blending and highlighting of sections that seemed on the verge of releasing this already fine orchestra’s ‘inner voice’. If only Haas could come back, we might get to hear some Wurlitzer-sized surprises.” — em>San Jose Mercury News/em>, reviewing a performance with Symphony Silicon Valley/p>p> /p>p>“The man has the potential to be a great conductor, and a radical one: just what Berkeley needs…Frankly, I have seldom heard the orchestra play better than under his baton…he has the gift of seeing the big picture…his superfast finale brought home the bacon; this time the contrast made the notes leap off the page, the orchestra played with aplomb, and at the conclusion the audience rose with tremendous cheers of excitement. Haas is the youngest conductor I have heard who could probably do the massive symphonies of Anton Bruckner justice…Haas studied the Tchaikovsky score so thoroughly that he conducted it from memory, gave a short lecture to the audience about its relationship to Beethoven’s Fifth Symphony, and even wrote the program notes for the work.” — em>San Francisco Classical Voice/em>, reviewing a performance with the Berkeley Symphony Orchestra/p>p> /p>p>“Mr. Haas is an energetic conductor who believes in what he is doing and knows how to do it. Thomas Beecham liked to say that successful conducting was the ability to hire good musicians, and Mr. Haas has assembled a first-rate band of young people…confident, well-rehearsed performances…Good luck to Sympho…it deserves to prosper.” — em>The New York Times/em>, reviewing a performance with Sympho/p>p> /p>p>“…a dazzling new concert format has been launched, moving us into the future by a century or two. Or maybe a millennium or two. This was a true ear-opener — and eye-opener too…Credit the fast-rising guest conductor Paul Haas from New York — a real find! — not only for bringing off the modern program, but also for extraordinary eloquence in leading these locals and making them sound like a million-dollar ensemble. His reading of Schoenberg’s mystical ‘Transfigured Night’ was to die for, as dramatic and sensitive as any you have ever heard.” — artssf.com, reviewing a performance with Sympho/p>p> /p>p>“… the center of the evening was the supercharged Romanticism of Schoenberg’s ‘Verklärte Nacht’, performed with passion and beauty by Mr. Haas and his young players…” — em>The New York Times/em> , reviewing a performance with The Knights and Sympho/p>p> /p>p>“Paul Haas, the group’s dynamic young music director…is surely on the brink of a noteworthy career, judging by the evidence of his work with this fine group…Every note and gesture in the score could be discerned in his exacting stick technique and body language as he steered his players through a compelling performance.” — em>The New York Times/em>, reviewing a concert with the New York Youth Symphony/p>p> /p>p>“An accomplished performance of the Mahler Sixth…this was an involving and brave account of Mahler’s 85-minute score…visceral power, unerring ensemble…in the wistful Andante, disarming tenderness…And Mr. Haas conducted it from memory, winning enthusiastic applause…during a long ovation.” — em>The New York Times/em>, reviewing a concert with the New York Youth Symphony/p>p> /p>p>“On the basis of yesterday’s SDCO concert in Sherwood Hall, I am almost tempted to say – Stop the whole competition right now and hire Paul Haas. He’s your man. I have never heard this orchestra in better form under anybody else…Haas is clearly off on an impressive start to what is likely to be a highly successful career…Not only did Haas have the strings rushing almost flawlessly thought the exhilarating 16th notes of the finale, and not only were all tempos for all the movements well chosen and the orchestral attacks crisp and clean, Haas managed to get the balances just right under seemingly impossible conditions…Haas infused the ‘Haffner’ with the same combination of enthusiasm and musical intelligence he brought to the Beethoven.” — SanDiego.com, reviewing a concert with the San Diego Chamber Orchestra/p>p> /p>p>“A zesty and beautifully polished reading…” — em>The New York Times/em>, reviewing a concert with the New York Youth Symphony/p>p> /p>p>“The young conductor Paul Haas was all about fresh thinking and visceral engagement. His music-making provided consistent surprises all evening — not from the kind of attention-hogging interpretive gestures you might expect in a conductor of his years, but from cogent ideas that revealed a keen musical mind and an impressive feeling for the natural pulse and trajectory of a score. Wagner’s ‘Tannhäuser’ Overture proceeded in a single, unbroken arc from the beautifully blended wind chords of the opening through the brass iteration of the Pilgrims’ Chorus theme at the conclusion (phrased opulently here, with a lyricism not confined by bar lines). His tempos — forward-moving but never rushed — sounded utterly convincing, thanks to his skill at melding and tapering phrases to create a sense of gradually unfolding drama. Haas…was even finer in Tchaikovsky’s Symphony No. 4. Consistently drawing parallels between this work and its darker, more sublime cousin, the Sixth Symphony, he also tapped a vein of restless, ruminative emotion that brought to mind the composer’s operatic magnum opus, ‘The Queen of Spades’. More often than not, Haas took his time with the score, allowing Tchaikovsky’s brooding colors to fully distill. Yet, when speed and rafter-ringing power were required (as in the final movement), the conductor delivered, generating thrills without breathlessness or coarse tone. Indeed, throughout the evening, Haas’s sensitivity to rhythmic and dynamic gradation, and his ability to marry heartfelt expression with disciplined playing from the NSO…would have been impressive in a conductor three times his age. If Thursday’s concert was an accurate barometer of his talents, Haas is headed for a significant podium career.” — em>The Washington Post,/em> reviewing a concert with Itzhak Perlman and the National Symphony Orchestra at the Wolf Trap Festival./p>p> /p>/div>/div>/div>/div>/div>/div>/div>/div>/div>div data-sorting-index1 class s-repeatable-item>div classclearfix>div>div class>div classs-item-text-group >div classs-item-title>div classs-component s-text>div class>div classs-component-content s-font-heading stylewhite-space:pre-wrap>h3>p styletext-align:left>Press Response (Installations)/p>/h3>/div>/div>/div>/div>div classs-item-subtitle>div classs-component s-text>div class>/div>/div>/div>div classs-item-text>div classs-component s-text>div class>div classs-component-content s-font-body stylewhite-space:pre-wrap>p styletext-align:left>“REWIND refits the classical experience for a new century… You had the feeling of being with musicians, not just observing them… Traditional audiences demand to have their say, but here all stilted, ritual interruptions were squelched… The come-on to newcomers was clear: Look, we can be hip too. Yet the center of the evening was the supercharged Romanticism of Schoenbergs Verklärte Nacht, performed with passion and beauty by Mr. Haas and his young players… Rewind seemed to involve its young and substantial audience so acutely because the music and the musicians were very good… It also worked because the physical format made sure that classical musics bad habits didnt have a chance.” — em>The New York Times/em>/p>p styletext-align:left> /p>p>“The pièce d’occasion turned out to be ARCO, a surprisingly mellow yet stubbornly complex essay in communal mysticism…fraught with intellectual subtlety and evolutionary significance…just sit back, relax and enjoy the exotic ride.” — em>Financial Times/em>/p>p> /p>p>“a mixed-media sensory experience that was like nothing I’ve seen before and, dare I say it, it even bordered on the spiritual.” — Salon.com/p>p> /p>p>“ARCO…unfolded as a continuous, 90-minute, period- and style-hopping stream. A collaboration among the composers Paul Haas, Bora Yoon and Paul Fowler, ARCO borrows a couple of concepts from pop music: the mash-up, in which unrelated pieces are melded together, and the remix, which embellishes and reconstitutes familiar music…The music was gently meditative…exquisite.” — em>The New York Times/em>/p>p> /p>p>“The effect is haunting and evocative… a continuous cascade of music and visuals, unfamiliar and familiar, challenging and sublime… Haas gutsy conducting style, as is usual for him, is energetic and elastic while being in control of and sensitive to changes in tempo, rhythm and dynamics. He throws his entire body into the performance in a way that has been continually lauded by critics since his professional debut in 1997… there is a frisson in the air, a sense among the audience members that something momentous has occurred in those 100 minutes as they step back onto the gritty streets of the Lower East Side.” — em>San Francisco Chronicle/em>/p>p> /p>p>“It’s high time these brilliant artists got access to a stage and audience worthy of their invention…ARCO echoed with all the weight of the hall’s history as both performance venue and practice site for armed battle…the ambition and scope of this new work were impossible to ignore.” — feastofmusic.com/p>p> /p>p>There was a genuine sense of event...it certainly exploded any notion I have of an orchestral concert. It felt as if something important was happening, something with emotional stakes, and it felt like I was a part of it. — em>Symphony Magazine/em>/p>p> /p>p>…the audience was entranced by an idiosyncratic, intermission-free program that was arranged like an iPod playlist. — em>The New Yorker/em>/p>p> /p>p>Newcomers to classical music get mystified by the protocols of the concert hall. The quasi-religious veneration of the event. The no coughing. The no clapping between movements of a given piece. The lack of visual stimulation, aside from staring at the musicians up on stage - rows of penguins, in black-and-white formal dress - for a couple of hours. Much of this was flipped on its head by Saturdays terrific REWIND program by the New Century Chamber Orchestra, led by Paul Haas, its guest conductor, at the Yerba Buena Center for the Arts Forum in San Francisco. It stimulated more than the ears. It had an indie-rock hipness about it. It was fun, even: Imagine! And best of all, the music, which sampled centuries, from Baroque (Purcell, Corelli) to brash or bluesy modern repertory (Alfred Schnittke, James MacMillan), was smartly stitched together and beautifully played. — em>San Jose Mercury News/em>/p>p> /p>p>REWIND fast-forwards the traditional concert via hip, multisensory stimulation that includes creative lighting, a kinetic sculpture suspended from the ceiling, electronic music, and innovative use of the performance space… In short, from innovative programming to awe-inspiring visuals, REWIND sought to keep its audience engaged. But did the performance succeed in doing so? It certainly did, according to my date for the evening, a nonmusician whom I have dragged to countless concerts. He said REWIND was the best concert we have ever attended together. He is neither a classical music aficionado nor someone over the age of 40, and precisely for those reasons, he falls within the program’s target audience. Judging by his opinion, REWIND resoundingly achieved its goal of engaging this group… The youngish audience gave it a standing ovation. — em>San Francisco Classical Voice/em>/p>p> /p>p>…a dazzling new concert format has been launched, moving us into the future by a century or two. Or maybe a millennium or two. This was a true ear-opener -- and eye-opener too…Credit the fast-rising guest conductor Paul Haas from New York -- a real find! -- not only for bringing off the modern program, but also for extraordinary eloquence in leading these locals and making them sound like a million-dollar ensemble. His reading of Schoenbergs mystical Transfigured Night was to die for, as dramatic and sensitive as any you have ever heard. — artssf.com/p>p> /p>/div>/div>/div>/div>/div>/div>/div>/div>/div>/div>/div> /div>/div>/div>/div>/div>/li>li classslide s-section-7 idsection-f_bfda3da4-7991-47ef-ab69-76976cb8a2a2>div classwaypoint>/div>div classsection-anchor>/div>div> div classlazyload s-new-media-section s-section s-media-section s-media-new-mobile-layout background-image data-react-style{}>div classlazyload s-bg-image s-bg-blurred s-bg-light-text s-persona-bg background-image stylebackground-repeat:no-repeat;background-size:cover;background-color:transparent;background-position:50% 50%;background-image:url(https://user-images.strikinglycdn.com/res/hrscywv4p/image/upload/c_limit,h_1200,w_2000,q_90,fl_progressive/aqkmfjbcijrquy1nggev.jpg) data-bghttps://user-images.strikinglycdn.com/res/hrscywv4p/image/upload/c_limit,h_1200,w_2000,q_90,fl_progressive/aqkmfjbcijrquy1nggev.jpg data-react-style{"backgroundRepeat":"no-repeat","backgroundSize":"cover","backgroundColor":"transparent","backgroundPosition":"50% 50%"}>style data-emotioncss 1tnf9eu>.css-1tnf9eu{position:absolute;top:0;left:0;width:100%;height:100%;line-height:1;-webkit-backdrop-filter:blur(10px);-webkit-backdrop-filter:blur(10px);backdrop-filter:blur(10px);-webkit-transition:all ease-in 0.2s;transition:all ease-in 0.2s;}.css-1tnf9eu.loaded{-webkit-backdrop-filter:blur(0px);-webkit-backdrop-filter:blur(0px);backdrop-filter:blur(0px);visibility:hidden;}/style>div classblurred-layer css-1tnf9eu css-1g80h9c0>/div>div classwaypoint>/div>div classcontainer>div classcolumns offset-three twelve>div classs-title-group >div classs-title sb-title-right-align>div classs-component s-text>div class>div classs-component-content s-font-title stylewhite-space:pre-wrap>h2>p classs-text-color-orange styletext-align: right;>industry response/p>/h2>/div>/div>/div>/div>div classs-subtitle>div classs-component s-text>div class>/div>/div>/div>/div>/div>/div>/div>div classs-persona-content>div classcontainer>div classalpha columns offset-three omega thirteen> div classs-mh s-layout-normal s-repeatable>div classs-section-item-wrapper>div data-sorting-index0 class s-repeatable-item>div classclearfix>div>div class>div classs-item-text-group >div classs-item-title>div classs-component s-text>div class>div classs-component-content s-font-heading stylewhite-space:pre-wrap>h3>p styletext-align:left>Industry Response to Paul Haas and a target_blank hrefhttp://symphoconcerts.org>Sympho/a>/p>/h3>/div>/div>/div>/div>div classs-item-subtitle>div classs-component s-text>div class>/div>/div>/div>div classs-item-text>div classs-component s-text>div class>div classs-component-content s-font-body stylewhite-space:pre-wrap>p styletext-align:left>strong>Parker Monroe, Past Executive Director of the New Century Chamber Orchestra/strong>/p>p styletext-align:left>“Sympho is totally fresh. It’s totally new. It’s completely new thinking about how to present concerts. Nobody else is doing this, so it’s very exciting for audiences, and it’s very exciting for performers./p>p styletext-align:left> /p>p>“The thing that’s unique about Sympho is that they’re effectively tackling what everyone in the orchestra business is trying to do, which is to be appealing to, to attract, to engage emotionally and intellectually a younger audience. I’ve been to multiple Sympho performances – both ours and in New York – and they get a very young, intelligent audience, and they keep them riveted for two hours. Nobody else is doing that. It’s a hard challenge to take a medium that reached its artistic apogee 100-150 years ago and make it appeal to someone who spends eight hours a day online. It’s not so easy, and Sympho is tackling it better than anybody./p>p> /p>p>“For the NCCO, Paul Haas was a great partner because he was the artistic driving force behind the project, but he also helped us – the crew, the team, the administrative staff – to put the project together. He understood the artistic needs of the members of the orchestra and the soloists, but he also helped us behind the scenes. Putting the project together, working with the philanthropic community, working with publicists: there are a lot of things involved in getting a concert on the stage. He understands all of those things, which makes him uniquely effective and attractive to work with, and he made it fun for everybody.”/p>p> /p>p>strong>Elliott Forrest, Peabody Award-Winning Broadcaster and Producer, on Sympho/strong>/p>p>“You feel like it’s a ‘happening’. You feel like there’s something bigger than just a music concert going on, and I think the audience feels that. It’s palpable. It draws the audience in in a way they’re not used to, and I think that’s an amazing experience for a lot of people./p>p> /p>p>“It’s extremely exciting to be in a very unusual place, to take incredibly beautiful music and stage it in a way that people just don’t expect: to have it lit, to have a full experience in which it was happening from the moment you walked in (it was happening before you walked in!) and it continued through the rest of the night. The musicians are always top-flight – brilliant young players. All these ideas – that might be handled in a different way if it were all just for effect – would be lost if the musicmaking wasn’t first rate, which it always is.”/p>p> /p>p>strong>Rebecca Robertson, President and CEO of the Park Avenue Armory/strong>/p>p>“I think Paul Haas and Sympho are willing to take anything on, and that’s really exciting. Music needs to move with the times. You need to try to do it in different environments and mix it up. They’re ready, willing, and able to do that, and that’s a fantastic thing./p>p> /p>p>“ARCO was professional, and it was magnificently delivered. It was wonderful to see this all come together in the way that it did. It was easy – not for Paul – but easy for us to be involved in this work, because it was creatively brilliant and really well-executed.”/p>p> /p>p>strong>Kristy Edmunds, Executive and Artistic Director, Center for the Art of Performance at UCLA/strong>/p>p>“In my work as the Artistic Director of the Park Avenue Armory in New York, I commissioned Haas to create a composition and live performance event for the opening of the inaugural Tune In Music Festival in 2011. What began as a straightforward proposition instead became a music event of grand proportion, in which Haas, along with Bora Yoon and Paul Fowler, generated a full concert length work that was deeply informed by the architecture of the Drill Hall at the Armory, drawing upon the unique aural and visual design properties of the space itself, as well as an epic cycle of music that exceeded all possible expectations. The piece, ARCO, was both site-specific to the Armory, and immensely relevant to the audiences who exuberantly found a unique voice through the sheer skill and depth of talent harnessed within the Sympho concert as devised and envisioned by Paul.”/p>p> /p>/div>/div>/div>/div>/div>/div>/div>/div>/div>/div>/div> /div>/div>/div>/div>/div>/li>li classslide s-section-8 idsection-f_98980c7d-2a4f-4453-b4f2-0d0175adefd7>div classwaypoint>/div>div classsection-anchor>/div>div classs-icons-section s-section s-new-mobile-layout>div classlazyload s-bg-image s-bg-blurred s-bg-light-text s-persona-bg background-image stylebackground-repeat:no-repeat;background-size:cover;background-color:transparent;background-position:50% 50%;background-image:url(https://user-images.strikinglycdn.com/res/hrscywv4p/image/upload/c_limit,h_1200,w_2000,q_90,fl_progressive/yyaa7yfyig0idpcgmw8a.jpg) data-bghttps://user-images.strikinglycdn.com/res/hrscywv4p/image/upload/c_limit,h_1200,w_2000,q_90,fl_progressive/yyaa7yfyig0idpcgmw8a.jpg data-react-style{"backgroundRepeat":"no-repeat","backgroundSize":"cover","backgroundColor":"transparent","backgroundPosition":"50% 50%"}>style data-emotioncss 1tnf9eu>.css-1tnf9eu{position:absolute;top:0;left:0;width:100%;height:100%;line-height:1;-webkit-backdrop-filter:blur(10px);-webkit-backdrop-filter:blur(10px);backdrop-filter:blur(10px);-webkit-transition:all ease-in 0.2s;transition:all ease-in 0.2s;}.css-1tnf9eu.loaded{-webkit-backdrop-filter:blur(0px);-webkit-backdrop-filter:blur(0px);backdrop-filter:blur(0px);visibility:hidden;}/style>div classblurred-layer css-1tnf9eu css-1g80h9c0>/div>div classwaypoint>/div>div classcontainer>div classcolumns offset-three twelve>div classs-title-group >div classs-title >div classs-component s-text>div class>div classs-component-content s-font-title stylewhite-space:pre-wrap>h2>p classs-text-color-orange>follow me/p>/h2>/div>/div>/div>/div>div classs-subtitle>div classs-component s-text>div class>/div>/div>/div>/div>/div>/div>/div>div classs-persona-content>div classcontainer>div classalpha columns offset-three omega thirteen>div class> div classs-mh s-repeatable>div classs-section-item-wrapper>div data-sorting-index0 classthird columns half-fixed no-float s-repeatable-item>div classs-item-media-group s-mhi>div classs-component s-image>div>div classs-component-content>div classs-img-wrapper>a hrefhttps://www.facebook.com/Paul-Haas-247722195245763/ target_blank aria-labelimage link>div classs-ratio-box stylemax-width:100px;max-height:100px>div classs-ratio-fill stylepadding-bottom:100.00%>/div>div classs-img-wrapper>img altbroken image title classlazyload crop-default data-description data-image-linkhttps://www.facebook.com/Paul-Haas-247722195245763/ width100 height100 srchttps://static-assets.strikinglycdn.com/images/themes/persona/facebook.png data-srchttps://static-assets.strikinglycdn.com/images/themes/persona/facebook.png/>/div>/div>/a>/div>/div>/div>/div>/div>div classs-item-text-group>div classs-component s-text>div class>div classs-component-content s-font-body stylewhite-space:pre-wrap>p>Facebook/p>/div>/div>/div>/div>/div>div data-sorting-index1 classthird columns half-fixed no-float s-repeatable-item>div classs-item-media-group s-mhi>div classs-component s-image>div>div classs-component-content>div classs-img-wrapper>a hrefhttps://www.instagram.com/paulrhaas/ target_blank aria-labelimage link>div classs-ratio-box stylemax-width:160px;max-height:160px>div classs-ratio-fill stylepadding-bottom:100.00%>/div>div classs-img-wrapper>img altbroken image title classlazyload crop-default data-description data-image-linkhttps://www.instagram.com/paulrhaas/ width160 height160 src//assets.strikingly.com/static/icons/flat-circle-160/23.png 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stylewhite-space:pre-wrap>p styletext-align:left>For booking:/p>p styletext-align:left> /p>p styletext-align:left>William Reinert Associatesbr>Post Office Box 1049br>Millerton, NY 12546br>Phone: 646-236-9702br>Fax: 775-259-5585br>info@williamreinert.com/p>/div>/div>/div>/div>/div>/div>/div>/div>/div>/div>/div> /div>/div>/div>/div>/div>div classwaypoint>/div>/li>/ul>div idprerendered-inline-theme-html>/div>/div>div classnavigation-buttons strikingly-fixed stylebottom:20px>span classprev>/span>span classnext>/span>/div>div idstrikingly-tooltip-container>/div>div ids-footer-section-container class>div classlazyload s-footer-section s-section has-new-mobile-actions background-image data-react-style{}>div classcontainer s-layout-vertical>div classcolumns offset-three twelve >div>div classwaypoint>/div>/div>div classs-footer-text>div classs-component s-text>div class>div classs-component-content s-font-body stylewhite-space:pre-wrap>p>Copyright 2016 Paul Haas and a target_blank 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