Christopher Evan Hass is currently pursuing his Masterís Degree in Music Composition at Central Michigan University, studying with Dr. Scott Harding. Chris received his BM from Western Michigan University in 2016, where he studied with Dr. Christopher Biggs, Dr. Scott Boerma, Dr. David Colson, and Dr. Lisa Coons.

Chrisí music has been performed by ensembles including the New York Philharmonic Principal Brass Quintet, the Donald Sinta Saxophone Quartet, and the Third Coast Trombone Choir. His chamber works have been performed throughout the United States, in California, Oregon, Texas, and Georgia. His recent works have received international recognition, with upcoming performances in Taiwan and Belgium.

Compositions

Polar Vortex for Saxophone Quartet


PDF score

Polar Vortex for Saxophone Quartet is a two movement work with loose programmatic ties to a winter storm in Michigan two years ago. The piece follows the timeline of that winter, beginning with optimism and peacefulness at the first snowfall that quickly leads to chaos and mayhem in the heart of the storm

The first movement, Snowfall, finds its mood through slow moving melodic and textural figures directly mimicking a short flurry of snow. Modulations provide interest to an otherwise calm and stable piece.

The second movement, Bloodthirsty Blizzard, heavily contrasts this first movement. With a much faster tempo, intense rhythmic activity, and a ubiquitous use of subito dynamic changes, this movement depicts the heart of the storm, or the polar vortex itself. The whole movement aggressively and constantly modulates throughout different keys and expands upon motivic material from the very beginning. A huge emphasis is on the octatonic, or diminished, scale and the work extends this emphasis by outlining a diminished chord through tonal centers of each major section.


Candy Cane for Flute and Fixed Media


PDF score

Candy Cane for Flute and Fixed Media is the unofficial sequel to Chocolate Bunny, my solo for trombone and fixed media, both of which are testaments to the fact that I donít know how to name my pieces. This electroacoustic work shows off the full capabilities of the flute, featuring extended techniques, an expansive use of range and dynamics, and virtuosic playing. As a whole, the piece displays a transformation of styles, starting with an ethereal, atmospheric introduction that slowly develops and builds into a rock and roll groove. A modal use of harmonic content unifies the piece, with a large emphasis on the lowered second scale degree (borrowed from the Phrygian church mode).


Vanquish for Trombone Octet


PDF score

Vanquish for Trombone Choir depicts a battle scene and does so through two contrasting styles. The first style is characterized by triumphant-sounding modal harmony and pulsating rhythmic energy, meant to portray the intensity of battle. The second style features a slower, more sentimental melody, which represents the reflection of what they might be fighting for. The two styles are first introduced in isolation, but later work together to lead to the climax of the piece: the victory of the battle. The piece ends with a final statement of the sentimental melody in a new key, representing the reality of achieving what theyíve always been fighting for.