Adam Haws (b. 1980) began writing music at a young age soon after learning to read music. His music reflects the influence of everything from Franco-Flemish polyphony to postindustrial noise, the cultural detritus signaling civilizations in decline, and the apocalyptic humor of Samuel Beckett. He has written a large amount of electroacoustic music over the years, and recently a spate of song cycles based on Kafka and Dadaism.
His compositions have been performed at the Aspen Music Festival and School, and the Bang on a Can Music Festival, as well as the Fifth International Festival of Young Musicians, Prishtina, Kosovo. Performing ensembles include the Indiana University New Music Ensemble, Concert Orchestra, International Vocal Ensemble, and Children’s Choir; the Western Washington University Contemporary Chamber Players; and readings by the American Academy of Conducting at Aspen, and by members of the Cleveland Orchestra. His works have been heard in locations from Oxford to Stony Brook and everywhere in between (the ocean?).
Haws helped instigate and contributed to Bellingham WA’s long-enduring New Music/New Dance (recently turned 10!), where he collaborated on many a bizarre Lynchian dance piece. He also enjoyed a long association with the Seattle Opera, interning with their education department and lecturing high school students on the minutia of Wagner’s Ring cycle.
Haws earned a Bachelors degree in composition from Western Washington University, and a Masters and Doctorate at Indiana University Jacobs School of Music. In his spare time, Adam enjoys playing with his rambunctious cats, Tamino and Lola. His occasionally random interests include Gnosticism, trends in fin de siècle theatre, typography, politics, and dour East European cinema. Adam currently lives in Seattle, where he is on the faculty of the Academy of Music Northwest.