New Electronic Sound Worlds

composer, Mason Bates
composer Mason Bates

Violinist Anne Akiko Meyers will join the Richmond Symphony in March to perform a brand new violin concerto by Mason Bates. Born in 1977, Bates, who happens to be a Richmond native, is currently composer in residence with the Chicago Symphony. The Violin Concerto, written for Meyers, was recently premiered by the Pittsburgh Symphony. Learn more about the concerto here and here.

One of the most interesting aspects of Bates’s music is the way he uses the new, electronic sounds of the twenty-first century. Composers have always been inspired by the sounds around them. In the Classical period inspiration came from the sounds of nature…bird songs and brooks. With the industrial revolution the orchestra got louder and more dissonant. In Bates’s music we hear the influence of Techno, Ambient, film scores, John Adams and more, all mixed together in a shimmering sonic stew. This is the musical vocabulary we hear around us every day.

Listen to Mason Bates’s The B-Sides for Orchestra and Electronica, written in 2009. You’ll see Bates, who has developed a second career as a dance club DJ, hunched over a laptop and drum pad in the percussion section. Also notice the use of a broom and the sound it creates. The piece is in five movements. The third movement features samples of NASA radio transmissions from the 1965 Gemini IV space flight. In the final movement, the earthy thud of a Techno beat propels us through a series of almost cinematic musical adventures. Don’t worry about what the piece is “about” on the first listening. Just enjoy the colors, rhythm and flow and see where the music takes you. Here is a live performance with Leonard Slatkin and the Detroit Symphony Orchestra:

  1. Broom of the System (0:13)
  2. Aerosol Melody (Hanalei) (4:22)
  3. Gemini in the Solar Wind (8:47)
  4. Temescal Noir (14:56)
  5. Warehouse Medicine (17:43)

Now that you’ve heard The B-Sides, here is Mason Bates’s description of the piece. He has some interesting additional thoughts in this interview. Bates talks about the use of electronic sounds in the orchestra here.

[typography font=”Cantarell” size=”28″ size_format=”px”]Michael Gordon’s “Industry”[/typography]

Mason Bates joins a long line of composers who have been inspired by electronic sounds. Karlheinz Stockhausen influenced the development of electronic music in the twentieth century. Here is his “Studie II” (Elektronische Musik) (1954). Edgar Varese’s Poème électronique (1958) was written for the Philips Pavilion at the Brussels World’s Fair. American composer George Crumb’s string quartet, Black Angels (1970), uses a variety of new, amplified sounds as well as percussive instrument tapping and bow scraping.

Here is Industry (1992), a piece for solo cello by Michael Gordon (b. 1956). The use of distortion draws upon techniques associated with rock music. Listen to the way the piece gradually develops out of a repetitive opening motive:

Here is what Michael Gordon says about the piece:

[quote]When I wrote Industry in 1992, I was thinking about the Industrial Revolution, technology, how instruments are tools and how Industry has crept up on us and is all of a sudden overwhelming. I had this vision of a 100-foot cello made out of steel suspended from the sky, a cello the size of a football field, and, in the piece, the cello becomes a hugely distorted sound. I wrote this piece for Maya Beyser, and it was an incredible process. I would fax her the music and she’d play it to me over the phone. We did this maybe ten times, trying things out. She was constantly teaching me about the cello, and I was making her play things that were really awkward and dark.[/quote]

[typography font=”Cantarell” size=”28″ size_format=”px”]What do you think?[/typography]

What experience do you have as you listen to this new music? How do these sounds reflect our modern world? What impact will electronic sounds and pop influences have in the future? In an age of computers and the prospect of increasing artificial intelligence, are electronic sounds somehow less “human” or are they a natural extension of the orchestra, as Mason Bates suggests? If you feel inspired, share your thoughts in the thread below.

About Timothy Judd

A native of Upstate New York, Timothy Judd has been a member of the Richmond Symphony violin section since 2001. He is a graduate of the Eastman School of Music where he earned the degrees Bachelor of Music and Master of Music, studying with world renowned Ukrainian-American violinist Oleh Krysa.

The son of public school music educators, Timothy Judd began violin lessons at the age of four through Eastman’s Community Education Division. He was a student of Anastasia Jempelis, one of the earliest champions of the Suzuki method in the United States.

A passionate teacher, Mr. Judd has maintained a private violin studio in the Richmond area since 2002 and has been active coaching chamber music and numerous youth orchestra sectionals.

In his free time, Timothy Judd enjoys working out with Richmond’s popular SEAL Team Physical Training program.

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