These words are being typed by a foie gras-based life form. At this time of year in Lyon, where I just spent a week with Leonard Slatkin and his phenomenal orchestra, you simply cannot escape the delicacy. Maybe you go with quibbles about the fattiness or dodgy production methods offoie gras, but once there, your resistance collapses. It’s a nice collapse, deep into the world of duck, and not necessarily as expensive as elsewhere because the Lyonnais present even the finest food quite casually. (Also, Leonard paid.) But while the capital of French cuisine certainly is the place for eating, I was even more impressed by its stunning cultural fabric – and most of all, its orchestra.
The Orchestra National de Lyon, which was famously once led by Hector Berlioz, did a stunning job with The B-Sides, Mothership, and Digital Loom. The concerts were a composer’s fantasy, combining superb playing, outstanding production and sound design, and houses packed with young audiences night after night. They are a model of what provocative programming and vibrant production can do for the symphonic experience.
The musicians shred. For example, the tricky opening of The B-Sides, with its ticking of a “future clock” in the electronics and a mischievous chimney-sweep rhythm in the percussion, has never sounded so tight on a first run-through. For Mothership, the orchestra put out a call for young improvisers, and the four we chose all brought something new to the piece. And for Digital Loom, a piece for organ and electronics, they lowered the back wall to reveal the stunning assemblage of pipes (below) that were once played by Saint-Saëns. This time they were played by Mathias Lecomte, an unbelievably gifted organist who brought both color and precision to this showpiece.
And the lighting. Oh yeah, the lighting. This week Lyon celebrates the Fête des Lumières, when buildings all over the city are illuminated by hugely elaborate lighting effects and magical projections. Facades ripple with the brushstrokes of Monet, a giant Ferris wheel made to look like an antique clock, beams of light wash across the sky. The orchestra wanted to bring some of that into the hall, so the concert was enhanced with immersive and responsive visual design. With the Chicago Symphony’s MusicNOW concerts and my Mercury Soul club shows, I have come to really appreciate dramatic and tasteful production – and Yves Caizergues knew how to do it.This highly meticulous lighting designer carefully programmed the lights to run in sync with each piece : from a dreamy blue for the “Broom of the System” that opens The B-Sides to a pulsing rave during its finale “Warehouse Medicine.” Mothership was illuminated as spectacularly as it was at its premiere at the Sydney Opera House, but this time I was actually given a MIDI controller by the lighting designer so I could trigger lighting effects while playing. I’m pretty sure heaven’s special room for control freaks will have a MIDI lighting controller. (The only thing that ever topped that was once being given a haze-machine button at a Mercury Soul club show – yes, I overused it.)Great audiences in Lyon too. I will admit to some advance anxiety about how the French would react to my music. It can be hard for to connect with a different culture, and let’s face it, the Continental new music scene still worships at the alter of post-serialism. But I knew I had a fighting chance with a town that loves Berlioz, a composer whose unusual sounds and imaginative forms I greatly admire.The crowd was pretty explosive, clapping between movements (I have zero problem with that) and at one point doing the let’s-all-clap-in-rhy-thm thing during “Warehouse Medicine.” That turned into an fun little challenge for us onstage, with the audience’s rhythm inevitably phasing out Reich-like and everyone onstage having to stay intensely focused end. This gracious audience response could have been as much a response to my music as a Southern thing : the Lyonnais are warmer than the Parisians.
Could this happen in the US – imaginative programming, creative production, and hip audiences? It does happen – I think of the CSO Beyond the Score series, or some of the Mavericks concerts at the SF Symphony. But it would be cool for more regular subscription concerts to have a higher quotient of new and unusual music. Lighting and production is not cheap, so starting subtle is a good plan. Get rid of the “house half-lit” vibe and make things dark; add rich lighting that enhances but does not interfere; and don’t promote it – let it be an added-value surprise that is put on the right night of the week.
What Leonard has built in Lyon is as impressive and audacious as what he’s done with the Detroit Symphony, which has the market cornered on symphonic webcasting – which includes a great deal of new and recent music. He is not only a stunning maestro, but a uniquely gifted communicator who knows how to present provocative ideas in fresh ways.
And, yes, he fattens me up. Quack.
One of the biggest events in my musical life happened yesterday. Having been performed around the country by many stellar orchestras, my Violin Concerto finally emerged in a format that anyone can hear anywhere: a CD. That’s right, the amazing Anne Akiko Meyers has just released The American Masters, a beautiful disc that travels through three generations of American composers, with exceptional performances by the London Symphony under the direction of Leonard Slatkin.
If I could breakdance on this flight from Chicago to San Francisco without being ejected from the plane, I’d be busting a headspin.
It’s an amazing CD (which you can find here. Anne wows audiences wherever she goes, with a stunning discography that has attracted a diverse following. This disc will further endear her to all who listen. For one thing, the album is a beautiful concept, a passing-off of music-making from teacher to student. Samuel Barber, whose concerto opens the disc, taught John Corigliano, my own teacher at Juilliard whose own Lullaby is premiered on the CD. In the music world, I’ve sometimes heard instrumentalists poignantly discuss the “lineage of knowledge” that they trace far back into music history, a passing of the baton from one teacher to another over decades. This is how performance practice is preserved and developed, and this exists too for composers.
Beyond the concept, there’s just superb playing. Anne has always possessed a unique combination of fiery intensity and sweet lyricism, and her playing receives stellar support from the London Symphony Orchestra. I knew the LSO from our recording of Mothership a few years ago. Many stellar musicians make up this fine orchestra – they can play just about anything on a first run-through – and with Leonard Slatkin on the podium, it becomes a dream team. Leonard is an American treasure, a dear friend and collaborator who has conducted many of my works over the years. Sitting in the control booth during the recording session, I marveled at how efficiently he conjured up this complex work.
The piece inhabits two identities: one primal and rhythmic, the other elegiac and lyrical. This hybrid musical creature is, in fact, based on a real one. The Archaeopteryx, an animal of the Upper Jurassic famously known as the first dinosaur/bird hybrid, can be heard in the sometimes frenetic, sometimes sweetly singing solo part. The searching melody that underlies the entire work, not heard in full until we are well into the first movement, has in fact been peering at us from behind the orchestral fauna all along.
Unfolding continuously out of the explosive first movement, the middle movement explores this melody dreamily, conjuring the lakebed in southern Germany where the archaeopteryx fossil was discovered. Eerie, hazy sonorities give way to a kind of underwater epiphany, pushing us airborne into the finale. In this last movement, the soloist stays aloft on a jetstream of notes, inspired equally by Bach inventions and sparkling electronica. The work’s final measures transform the soloist fully from dinosaur into bird, with the melody floating high above an orchestra of fluttering textures.
That transformation has also happened to this piece, which after many performances has taken flight. It’s a joy that work is now available for all to hear — so please check it out!
I’ve been doing the musical equivalent of cave-painting this summer: writing music in blissful California isolation while my symphonic travels take their summer respite. But that ends next week, when the 2014-15 season kicks off at the SF Symphony – and things stay in high gear until early June when Riccardo Muti and the Chicago Symphony premiere a new work. In the middle are many visits to the Pittsburgh Symphony, several new CDs, and various curating & DJ events related to Mercury Soul. Here’s the skinny:
SFS Beethoven & Bates Festival (info). The coolest-sounding festival I’ll ever be associated with continues this month! My three biggest pieces are being performed and recorded by Michael Tilson Thomas and the SF Symphony. With last season’s performances of Liquid Interface and The B-Sides ‘in the can,’ we now look to Alternative Energy Sept 10-13.
Next to Beethoven, my ‘energy symphony,’ ‘water symphony,’ and surreal symphonic suite will create both harmony and friction. On one level, the large-scale and dramatic nature of my music fits with Beethoven, who invented the narrative form with the 9th Symphony. When a chorus appeared in the finale, suddenly the symphonic form included text — and this grafting of content onto an abstract medium opened it to the later developments of Wagner, Liszt, and Berlioz. My music often brings unusual narrative forms to life, but with an electro-acoustic palette and a completely different stylistic sensibility than the 19thCentury symphonists. It’s a provocative programming choice from the most gifted and offbeat mindfreak the world knows, Michael Tilson Thomas.
Chicago Symphony & Muti premiere (info). My biggest premiere this season will happen in June, when Riccardo Muti conducts the premiere of Anthology of Fantastic Zoology. Bases on the compendium by Jorge Luis Borges, the piece is a kind of psychedelic Carnival of the Animals that evokes imaginary creatures familiar (sprites) and unfamiliar (the A Bao a Qu, a palindromic animal whose music is too).
Having worked closely with the maestro and the orchestra over the last four years of my CSO residency, I am writing a work carefully tailored to everyone’s special gifts. The “ballet score” form of this piece is very much inspired by Muti’s unique abilities as a musical dramatist, and many of the animals are conjured by specific instruments in a kind of “concerto for orchestra” manner.
Pittsburgh Symphony. Returning as the PSO’s Composer of the Year is a cherished honor for me. It’s one of the finest orchestras in the country, both in its superb musicianship and in its devotion to living composers. Our relationship extends many years, and by the end of this year they will have played almost all of my symphonic music. This year includes Rusty Air in Carolina, my electro-acoustic tone poem to the South, as well as White Lies for Lomax, The Rise of Exotic Computing, and Alternative Energy.
New recordings. The aforementioned SFS CD will be my debut full-length symphonic release, a long wait due to the complex nature of this medium. Another important release happens much sooner: the amazing Anne Akiko Meyers will be releasing my Violin Concerto with the London Symphony under the baton of Leonard Slatkin. This extraordinary violinist has put together a beautiful CD that extends from teacher to student – from Samuel Barber to John Corigliano to me – so let’s wish her luck in snagging the Grammy she deserves!
Curating. Check out my new curating page! One of my biggest focuses these days is on bringing new music to new ears in new ways – whether it be on the Chicago Symphony’s MusicNOW series, Mercury Soul, or elsewhere. If you’re new to the site, please sign up for my once-in-a-blue-moon newsletter. I only peer out of my cave every so often!
I’ve got Joshua Bell surrounded — by a devil and a spaceship.
Next weekend at the marvelous Sun Valley Symphony, I’ll happily be the peanut on the bill of a concert that features the reigning prince of the fiddle performing the Bruch concerto. The concert resembles a three-course meal: the appetizer is the world premiere of Devil’s Radio, for large orchestra; the main course (of course) is Josh; and I return with a dessert of Mothership, my electro-acoustic opener that is colonizing a new corner of a concert program (the end).
Two things pushed me into this commission: music director Alasdair Neale, the stellar maestro well known in San Francisco and beyond; and a mammoth orchestra. How big? Quadruple winds, extended brass, huge percussion: yup, this one goes to eleven. In the past, I’ve declined to write for such large forces, favoring the more standard double- and triple-winds to offset my usual addition of electronics. But this work is acoustic, and orchestras do need short works for this instrumentation – and hey, I needed a hell of a band to conjure a devil.
Devil’s Radio, an darkly exuberant fanfare, takes its title from a colorful Southern phrase: “Rumor is the devil’s radio.” I’ve always wanted to summon that strange radio, filled with errant grooves and vainglorious fanfares. When Alasdair alluded to the sprawling forces available, my ears perked up. It certainly sweetened the deal that many of the Sun Valley Symphony musicians are familiar to me from the San Francisco Symphony and elsewhere. And adding Mothership to the concert, Alasadair managed to do what no other orchestra has done: prompt me to bring my family. (My five-year old is pretty sure I peaked at Mothership.)
In addition to gearing up for that premiere, I’ve also been tweaking the electronics for Alternative Energy in advance of the SF Symphony performances September 10-13. Bringing this ‘energy symphony’ to life with Michael Tilson Thomas marks the final week of the Beethoven & Bates festival, which let’s face it is the coolest-sounding festival I’ll ever be associated with. While the piece has been performed often since its premiere two years ago, these performances will be recorded for a forthcoming CD release, so I’m tinkering with the electronics and making sure every spin of the particle accelerator is in the sweet spot.
But more than anything else this summer, I’ve been hard at work on Anthology of Fantastic Zoology, a new work for Riccardo Muti and the Chicago Symphony. This 25-minute (unplugged) work stretches my music harmonically and texturally more than any other piece. That was certainly the point of the form: in choosing a trippy Borges book about mythical creatures, I wanted to push my music into an explicitly surreal and imaginative direction. The idea is to take the highly colorful ballet form – lots of short character pieces – and hit them each with a little drop of LCD. At the moment, I’m facing off with all seven creatures in the insane finale – when the first twenty minutes collapse into five. (Currently, the animals are winning.)
Summertime is nice, but I’ll admit I’m itching to get back to Chicago and out of my head a little bit. Not one to wish away the present, however, I’ll happily cling to my flip-flops a bit longer.
Sshh. There’s a hidden story quietly exploding in classical music. It’s the surprising evolution and adventurousness of American orchestras.
You wouldn’t read this story in the pages of the leading newspapers and magazines, most of which are in New York and apparently believe every composer lives in Brooklyn, premieres each piece at Le Poisson Rouge, and tweets after composing each measure.
You’d only see this from running the numbers on living composers. A proper accounting of composers being performed by American orchestras could only come from ASCAP and BMI, the performing rights organizations who track performances every day. In the top handful, you’d find several surprising things: the emergence of new faces, the rise of the self-published composer, and the field’s embrace of electronic sounds.
This is important for many reasons, not least of which is that any field should have an accurate understanding of itself. Beyond that, American orchestras, particularly regional ones, should get more credit for being more dynamic and courageous than the critical establishment realizes. And young composers should know that no, you don’t have to play by the rules.
In a way, you can’t fault the NYC publications for one simple reason: new music in New York City is not really about orchestras. Whether it’s uptown, downtown, or Brooklyn, the action is mostly in chamber music, from Columbia University to Bang on a Can to Alarm Will Sound. But with the dissolution of so many local newspapers, the remaining few like to think of themselves as the publications of record. There’s a tension between the locality of their masthead and their efforts to position themselves as national papers. While it’d be nice if the “big dogs” turned their attention west of the Hudson more often, the responsibility also falls on us in the field to look elsewhere. Other outlets around the country – such as ArtsJournal, the San Francisco Classical Voice, The View From Here, I Care If You Listen, New Music Box – have been more powerfully impacting the conversation with every passing month. The more we read them, the more they’ll grow – and a more balanced view will emerge.
That balanced perspective would encompass the huge variety of orchestras, especially the unsung regional ones, where the heart of classical music beats. It’s not just about sound; it’s about listening. The symphonic space demands a uniquely focused listening perspective that we rarely experience anywhere else in the 21st Century. Not every piece needs to be a magnum opus – an opener, whether John Adams’ Short Ride in a Fast Machine or my own Mothership, is light by definition – but the works must withstand the internal attention of an orchestra and the external attention of a couple thousand active listeners. And when you get to longer, symphony-length works, you can really travel to trippy places.
To be clear, I love chamber music. It definitely deserves to be written about, and its lean forces encourage experimentation. For example, the chamber music of Anna Clyne, Anthony Cheung, and Marcos Balter is wonderfully rich and provocative in unique ways. But an outsized amount of attention is focused on the “Brooklyn house style” of post-minimalist indie-rock. The latter mindset is best illuminated by some head-scratching comments by Nico Muhly: “I’ve always found the best thing to do is to make work that doesn’t have to happen in a huge space. I think it would be fine if major orchestras closed.”
Now, I think the world of my old classmate – he walks on water, changes water to wine, then walks on the wine – but in this case, he’s misunderstanding one of the best things about our field. Symphonic music is about large spaces, it’s about deep listening, and yes, it’s about the grassroots network of wonderful orchestras around the country. Each one has unique qualities. It’s not fine if a single one of them closes. To be fair, the Rev Dr Muhly posted a lengthy clarification on his site – which you should read – and I sympathize with someone who feels their words have been de-contextualized.
But his opinion is a common one, especially among non-symphonic composers. It’s totally fine if a composer wants to churn out a million notes a year, or if a rock artist wants to riff over some drones or whatever. Those pieces might have nice premieres, but ephemera does not survive very long on the symphonic circuit. The top handful of symphonic composers – those getting above, say, forty or fifty symphonic performances a year – spend forever on each score. John Adams just entirely rewrote his concerto for string quartet, for example; on the other side of the Bay, I feel like I’m perpetually in labor with each piece. John is especially relevant in this discussion because he got into trouble for disparaging today’s “music lite.” It startled me a bit to hear this from the composer of Grand Pianola Music (though not City Noir), and someone of his stature should probably be magnanimous just about all the time. But coming from a stylistic shape-shifter, his opinion is highly informed on this topic (maybe a better term is the manufacturing phrase commodity hell: indistinguishable mass-produced items, such as disposable razors – or oscillating minor thirds).
In the past, the League of American Orchestras has admirably released a list of most-performed living composers. But the list’s persistent inaccuracy stems from its reliance on self-reporting from orchestras in the League, which doesn’t include many smaller groups who are playing tons of new works (for example, the Boston Modern Orchestra Project: their numbers alone would alter the list). We must all call on ASCAP and BMI to post their numbers.
What would the numbers tell us? They’d certainly demonstrate a move away from publishers. Jennifer Higdon, like me, most likely would have signed with a major publisher early on. But as she became so heavily performed, she probably realized that no publisher was worth half her copyright. That’s a lot of ownership to give up (for me, it means not having to get a real job). Kevin Puts, who won the Pulitzer and is becoming one of America’s busiest opera composers, has remained independent. Chris Theofanidis is another stellar composer busy with orchestras and opera companies. We’ve each had to creatively design our own model.
Publishers argue that, in exchange for owning half your newborn child, they promote your works to conductors and orchestras and manage your career. The latter task – negotiating contracts and appearances, providing valuable counsel – can certainly be handled by an agent. I would argue that you absolutely need an agent if you do not have a publisher. Composers never used to have them, but these days there are quite a few at various agencies. I started with Monica Felkel at Young Concert Artists and moved on to Mary Pat Buerkle at Opus 3. The latter has become such a key part of my life, I almost sent her my homemade eggnog this year (it would’ve involved FedEx’s live animal rates, due to the temperature issue, so I gave up). The nitty-gritty of negotiating rentals and handling sheet-music sales can be handled by an independent distributor such as Bill Holab, who does a fine job for me without owning any copyright. Some composers do it all themselves – cf John Mackey, who’s currently unloading a big-rig full of band music into the back of the building – a hugely successful non-symphonic composer, but one dealing with large forces nonetheless. I would argue that the less time you spend on spreadsheets, the more time you have for music – so, get a distributor.
But that other role of traditional publishers – promotion of your catalogue – is indeed hard to replace. It can therefore make sense to sign with a publisher if you’re young and do not have much exposure; they can help you break through. Once you reach critical mass, however, you may want to rethink your relationship. I’m not certain that publishers have the time or budgets to promote the huge amount of composers in their stables. For me, reaching critical mass came the old fashioned way: the conductors who helped me early on, from Robert Moody to Riccardo Muti, from Edwin Outwater to Marin Alsop, from John Adams to Michael Tilson Thomas and, most of all, Leonard Slatkin.
What else would the numbers show? That orchestras are open to new sounds and technology. Admittedly, I’m talking about my own catalogue here, but it’s one example of how orchestras can evolve. I don’t just mean the big ones either: when Sioux City performs The B-Sides, it’s a reminder that regional orchestras and audiences aren’t afraid to take chances (or use electricity). There wasn’t any widely-performed electro-acoustic symphonic music as a precedent, so I’ve spent many years observing orchestras and learning the logistics, the unions, and yes the big-space acoustics of integrating electronics into the symphonic space. Yes, you can break the rules – as long as you know what they are (except, um, union rules).
So, who will write this story? With the right numbers from ASCAP and BMI, any number of fierce new-music advocates could do it: Allan Kozinn, John von Rhein, Joshua Kosman, Anne Midgette, Kyle Gann, Norman Lebrecht, Andrew Patner, Frank Oteri, Greg Sandow, you name it : all could provide a fresh perspective.
This isn’t a New York story. It’s a national story. And it deserves to be told.
This is the time of year when I rarely go anywhere, when getting ‘dressed up’ is synonymous with ‘getting dressed,’ and when prime-time composing begins. But before I slipped into flip-flops and a new piece for Ricccardo Muti, I had to make two quick trips to orchestras I love.
First was a visit to the Toronto Symphony, which was giving the Canadian premiere of a work they co-commissioned entitled Garages of the Valley. I’ve been fortunate to have a long relationship with the TSO, one of the most vibrant of orchestras. My introduction to them came via John Adams, who beautifully conducted my ‘water symphony’ Liquid Interface, and I returned last season to perform Alternative Energy with the amazing Maestra Carolyn Kuan. But this recent visit was my first TSO premiere, and my first time working with music director Peter Oundjian.
This is a man who rehearses so thoroughly, who understands one’s music so intuitively, that a composer has gratefully little to say. Garages of the Valley conjures the workshops of the early tech visionaries, who invariably dreamed up the Computer Age in decidedly low-tech garages all over Silicon Valley. Eschewing the electronics so prevalent in my music, I wanted to create a piece that evoked a whirlwind digital activity by purely acoustic means.
Peter not only navigated the labyrinth of metric modulations that underpin the work, but he did a superb job of coaxing the micro-tonal, quasi-electronic sonorities that evoke circuit boards. I’ve always found it challenging to get my head around an “opener” — the short, often fast works that open symphonic concerts. The allure of The Deep Experience often pushes my pieces beyond the 9’ length that is required of a standard opener. Mothership was the first time I cracked the form, but it was time for me to offer an acoustic opener – and I think with a few minor cuts, Garages of the Valley is that piece.
The other work on the program, Shostakovich 5, was brought to life as superbly as I’d ever heard it. Peter managed to keep it powerful and poignant without getting bogged down, not an easy task for such a deeply conflicted symphony. (While it was written with the aim of getting Stalin’s approval, it is riddled with revolutionary subtext.) The touching performance struck me as particularly impressive given that this was one of the TSO’s Late Night concerts. A hugely diverse crowd of all ages showed up for food trucks and booze, yet when the concert started, these new-comers were enraptured by the performance.
After the premiere, I scurried back to San Francisco for a one-day familial appearance (can’t miss Father’s Day), then headed to Chicago to catch Maestro Muti conduct Schubert, Mozart, and Mahler. In the midst of a large new work for himand the Chicago Symphony, I wasn’t going to miss an opportunity to watch them in action.
One may think of Muti, a Southern Italian, as a musician who conducts from the heart. But his southern charms are always complemented by laser-sharp rigor. He opened his rehearsal of Mahler’s Symphony No. 1 by discussing his research into the bass solo in the third movement. With a pile of papers on the podium — and a facsimile of Mahler’s manuscript — the maestro presented his reasons for asking only the principle to play the solo. After laying out the evidence, he added the charm: this movement is “like a Jewish wedding,” he said, and at that time, Jewish folk were “too poor for a lot of contrabasses.” A punch line, yes, but in fact the solitary bass does indeed project a deeper, perhaps more authentically Jewish, sense of loneliness in that passage.
The concert that night featured two symphonies by Schubert, a composer not overly appreciated in that form. Often one looks to the songs and chamber music to spot the gems of harmonic originality for which he is best known. Muti, however, has made it something of a signature to explore underappreciated works in the repertoire. Whether it be Frank’s D minor or Schubert’s first, the maestro always makes a compelling case. For me, the highlight of the concert was the scherzo of Schubert’s sixth, apparently the first time the composer used that form orchestrally. (I became something of a connoisseur of Schubert scherzi when writing Mothership, which is based a the “scherzo with double trio” that he invented.)
Then I hopped on a flight back home. A wide variety of flip-flops await, as does the Anthology of Fantastic Zoology — a new work for Muti and the CSO that will be a kind of psychedelic Carnival of the Animals. Time to write.
"If Mason Bates' Rusty Air in Carolina is any indication, this 30-year-old composer (who is based in the East Bay and has a parallel career as a DJ) also has a voice...A Virginia native who summered as a teenager in South Carolina, his new work recalls sticky Southern nights, filled with the chatter and buzz of katydids and cicadas. ...You could feel the humidity, while luxuriating in Bates' exquisite, almost Impressionistic, atmospherics." -Richard Scheinin
“Mason Bates, 30 years old…knows how to command an orchestra just as well as he does his touchpad. Bates’s Liquid Interface, a National Symphony commission that received its world premiere last night, surpassed in sheer sonic beauty even the works by Mendelssohn and Tchaikovsky that rounded out the program.”
"Take Mason Bates's Digital Loom for organ and electronics, a centennial commission. Definitely a voice from the younger generation, Bates reimagines the king of instruments as a surreal creature inventing its own space, the illuminated stops flashing like an enormous pinball machine and presided over by the organist as D.J. who programs wild sequences of hip-hop, funk, and ambient electronica" -Peter Davis
"Contemporary composers can integrate high-definition recordings of sounds they want to evoke, as Mason Bates does in his cleverly constructed Liquid Interface. The first movement, "Glaciers Calving," begins with an ominous recording of glaciers crashing into the Antarctic Ocean, soon followed by dense, haunting swirls from the strings and electronic beats that accelerate to lively drum and bass rhythms. Mr. Bates's colorful four-movement tone poem, which uses a vast orchestra and electronics to evoke water in both soothing and menacing forms, received its New York premiere at Carnegie Hall -Vivian Schweitzer
"Mason Bates's Digital Loom, for organ and electronics...transformed the hall into something between a decaying cathedral and an East Berlin club." -Alex Ross
"Be it mixing trip-hop and funk at a club or writing a symphonic or chamber work, composer Mason Bates is getting noticed for his straddling of classical music and electronica. ... Young, Juilliard-trained and already celebrated, he's become a fixture not only in concert halls but in the world of electronica as well. ... At a time when symphony orchestras nationwide are trolling for audience magnets - the type of new material that can lure members of generations X and Y along with older subscribers - Bates just might have that bait. " Concerto for Two Universes, Donna Perlmutter
One of classical music’s best-kept secrets is let out of the bag this month. With the digital release of two commissions by Riccardo Muti and the Chicago Symphony – my Alternative Energy and Anna Clyne’s Nightferry – anyone with a laptop can be reminded of an oft-overlooked fact: the CSO & Muti are one of America’s most essential and vibrant leaders in new-music.
Surprised? Hopefully not, as both Muti and the CSO have a long history of bringing new music to life. But if you are indeed surprised to hear that Maestro Muti can rock out to 6-channel surround sound while keeping the CSO locked to his every beat, I have a hunch why. You likely don’t live in Chicago, maybe read just the NY press, and therefore only know about just one element of this fabulous dream-team. I love Verdi too, yet there’s so much more – but let’s start with the release, which is killer!
Once you download it (it’s digital-only, available at iTunes), the first thing you notice is the nifty cover art. It nicely combines the spinning motion of a particle accelerator (conjured in Alternative Energy) and the watery imagery of Anna’s Nightferry, beautifully capturing the sense of journey that each piece evokes, despite their very different languages. And then you hit play, and you’ll hear stunning performances by some of the world’s finest new music performers, stunningly mastered by multi-Grammy-winning sound engineer David Frost.
It’s a dream team bringing to life my biggest piece, an ‘energy symphony’ spanning four movements and hundreds of years. Beginning in a rustic Midwestern junkyard in the late 19th Century, the piece travels through ever greater and more powerful forces of energy — a present-day particle collider, a futuristic Chinese nuclear plant — until it reaches a future Icelandic rainforest, where humanity’s last inhabitants seek a return to a simpler way of life.
These worlds are conjured by a variety of symphonic effects. A blues fiddle accompanied by car parts dominates the ‘old-time’ first movement (the principle percussion, Cynthia Yeh, plays a ‘car part drumset’ assembled from scraps collected at a junkyard, while concertmaster Robert Chen conjures his inner Appalachian). Actual recordings of Chicago’s FermiLab particle accelerator appear in highly dramatic form in the present-day movement (think: massive machines waking up all around you). Surreal and trippy microtonal sonorities take us to the edge of a future industrial wasteland in China’s Xinjiang Provience. And gently out-of-tune, gamelan-sounding figuration, complimented by surround-sound jungle recordings and future birdsong, brings us to the far-off rainforest where the piece ends.
The piece takes the sprawling, imaginative approach to form reminiscent of Berlioz or Liszt, but with a soundworld informed by the Digital Age. My approach, in short, has evolved well beyond the initial influences of techno and EDM that arose from my DJ work. I still love DJing, and you’ll certainly hear plenty of dark techno in the third movement; but I’ve found many creative new ways to expand the orchestral palette as well.
That Riccardo Muti and the Chicago Symphony Orchestra have given the piece such dedicated attention speaks volumes about them both. The premiere performances were just the beginning – they took it on tour in California; then to Michigan; then to Carnegie Hall; and now the release. Muti and the CSO have also given the royal treatment to Anna Clyne, my colleague in the post of composer-in-residence at the CSO, and they’ve presented more new music than just us (for example, the Solima double cello concerto this season). As the maestro told me when we first rehearsed this piece, he treats every new work as if it were written by an old master, spending dozens of hours pouring over every detail. His scores of Alternative Energy and The B-Sides are covered in markings and notes, and he disarmed me a few times by noting very obscure errors in, say, the second bassoon part. His new-music chops have come from a long history with living composers, notably with the Philadelphia Orchestra. Many composers know that he worked through some extremely complex post-serialist music there, but some remain unaware. That is probably understandable, since memories are short and Muti’s career has been long. He is a dynamic figure whose interests have evolved over the years, but just because he can conduct Verdi better than anyone doesn’t mean he can’t teach us a lot about living composers. Think about what a special challenge it was for this man to stand in front of his orchestra and a surround-sound array of speakers. As he told me, “I’m an old dog, but I want to learn new tricks!”
Beyond the maestro, the CSO itself has one of the world’s most important histories with living composers. The position of composer-in-residence was invented by the CSO when John Corigliano was brought on in the 1980′s; it was subsequently duplicated all over the country. This position is the most substantive I’ve encountered anywhere: in addition to all the work with the orchestra, the composer is given a free hand to develop the MusicNOW series. This 30-year-old series has become a real phenomenon, with upwards of a thousand people turning out on Monday nights to hear a completely new take on the new-music format. That’s quite something if you think about it. Anna and I have been grateful for the guidance and freedom given to us by Martha Gilmer, Nick Winter, Gerard McBurney — and, of course, the maestro as well. Muti instructed the entire organization to reach deeper into the Chicago community, and while I’m not sure he was expecting us to start pulling tons of techno freaks from the EDM scene, I know that he’s happy with how we’ve expanded.
Few people outside of Chicago are aware of this. The CSO has become such a Ferrari for visiting conductors – the place to do staples of the repertoire – that the field, collectively, sometimes thinks that the CSO masters only the old-school. The Chicago critics know exactly what’s going on with new music at the CSO, with detailed coverage by folks such as John van Rhein and Andrew Patner, but you’d never know it from reading east-of-the-Hudson critics. It was bold of Muti to travel to Carnegie Hall with Alternative Energy, a half-hour of electro-acoustic trippiness. But all one notable fellow wrote was, “Muti offered a kind of flashback to the programs of yesteryear” with barely a mention of anything but Franck. That kind of casual inaccuracy propagates a myopic view of an orchestra that is so much more than a showcase for “faded classics.” Everyone wants to advance the storyline they are already familiar with.
We think of a handful of orchestras and ensembles as new-music leaders, but there are many that are doing amazingly provocative stuff. It’d be nice if those who consider themselves tastemakers could take a little look around. Look at Detroit: those revolutionary webcasts have yet to receive their due nod from the tastemakers. Look at almost every concert in San Francisco. Look at regional places, such as Sioux City (Ryan Haskins) or Portland (Robert Moody). The CSO, too, could do more to showcase its important impact of the new-music life of this country; but we’re getting there. The Resound release is one example, and Anna and I are very thankful to everyone for making it happen.
Watch violinist Anne Akiko Meyers perform Mason's Violin Concerto with the Detroit Symphony. Get your copy of the concerto on Anne Akiko Meyer's "The American Masters" album with the LSO & Leonard Slatkin, available NOW from iTunes, Amazon and more.
Explores the poetry and mythology of seductive, dangerous sirens from a variety of cultures.
• Joshua Roman premieres Cello Concerto w/ Seattle
• 2nd most-performed living composer (O’Bannon article)
• new CD! The American Masters - Anne Akiko Meyers
• The B-Sides in Prague (Filharmonie Hradec Krlov)
• Pittsburgh Symph Composer of the Year: Rusty Air
September 21st, 2011