‘Become Desert’ Concert Broadcast: June 7, 9pm PT

by Maggie Molloy

John Luther Adams is known for crafting vast sonic landscapes that echo with the textures and timbres of the natural world. Most famous among them is Become Ocean, his Pulitzer Prize and Grammy-winning orchestral work commissioned and recorded by the Seattle Symphony in 2013.

Last year, our orchestra premiered the highly-anticipated sequel, Become Desert—and you can hear it this weekend on Classical KING FM.

Tune in on Friday, June 7 at 9pm to hear Adams’ expansive desert sound world in its original concert performance by the Seattle Symphony and Chorale, conducted by Ludovic Morlot. (And as if an immersive new John Luther Adams premiere wasn’t enough on its own, the piece is paired with another musical mammoth: Beethoven’s Emperor Piano Concerto featuring pianist Jeremy Denk.)

Written specifically for Benaroya Hall, Adam’s Become Desert features members of the Seattle Symphony and Chorale divided into five different ensembles which surround the audience, immersing them in sound, space, and “the singing of the light” (a quote Adams borrows from the great Mexican poet Octavio Paz). The piece was composed at a pivotal moment in Adams’ life: after living for most of his career in Alaska, he moved to the Mexican desert.

In this interview conducted before the piece’s world premiere, John Luther Adams speaks with KING FM’s Dave Beck about moving from tundra to desert, his fascination with immense spaces, and the importance of using the right tools—in his case, the perfect number 2 pencil.



Want to hear it again?

A studio recording of Become Desert will be released on June 14 as an album available on Cantaloupe Music. The two-disc set includes a DVD featuring a surround sound mix of the recording, as well as a slideshow of desert images shot by Adams himself.

Click here for more information, and here for NPR Music’s First Listen.

Second Inversion’s 24-Hour Star-Spangled Marathon

by  Maggie Molloy

This Fourth of July, Second Inversion is celebrating the history of American musical innovation. Tune in all day long on July 4 for our 24-hour Star-Spangled Marathon, featuring American composers across history.

Throughout the day we’ll take you from the spiritual fantasias of Florence Beatrice Price to the jazzy rhapsodies of George Gershwin, from the musical nuts and bolts of John Cage to the tape experiments of Pauline Oliveros—from the minimalist musings of Philip Glass to the spacious landscapes of John Luther Adams, the avant-jazz stylings of Don Byron, the musical tapestries of Gabriela Lena Frank, and far beyond.

This Fourth of July, we’re celebrating the history of American music in all of its sparkling diversity, from sea to shining sea. Click here to tune in.

Plus, discover our hosts’ favorite musical selections from the marathon below.

Florence Beatrice Price: Fantasie Negre (Sono Luminus)
Lara Downes, piano

Fantasie Negre is such a cool piece, a fascinating mix of romantic era Western European influence and African American spiritual—it’s almost as if Liszt visited the American South and immediately rushed to a piano to interpret the melodies he heard. Fantastic gospel-like moments seep through dazzling displays of technique. It’s even more impressive when you think about all the things Price had to overcome just to compose: a black woman born in Little Rock, Arkansas, she attended New England Conservatory in 1906 but had to pass as Mexican in order to avoid abuse. Though she returned to Arkansas and married, she moved her family to Chicago to flee lynchings; her husband eventually became abusive and she filed for divorce, a rare step for a woman of her time. Despite these difficulties, her prodigious talent produced 300 works in her lifetime.
 Geoffrey Larson

Tune in to Second Inversion in the 12pm hour on July 4 to hear this piece.


Steve Reich: Come Out (Nonesuch)
Daniel Hamm, voice

In 1966, Steve Reich took a four-second audio clip and spun it into one of the most harrowing musical works of the 20th century. Come Out takes as its basis a mere scrap from an analog tape interview of Daniel Hamm, a black teenager who was wrongfully arrested for murder in 1964 (one of what would come to be known as the Harlem Six). In the clip, Hamm describes the horrific police brutality he faced behind bars. But the police would not take him to the hospital unless he was bleeding—so he ripped open one of his bruises and “let some of the bruise blood come out to show them.”

Come out to show them. Reich gradually loops, phases, and transforms these words beyond recognition over the course of 13 minutes, transporting the listener beyond language and into the dizzying and devastating reality of the situation at hand. Over 50 years later, we find ourselves still spinning in the same tape loop, Hamm’s words still echoing in the race relations of today. – Maggie Molloy

Tune in to Second Inversion in the 3pm hour on July 4 to hear this piece.


John Luther Adams: Dream in White on White (New Albion)
Barbara Chapman, harp; Apollo Quartet and Strings

Many artists have long recognized that one of the United States’ most powerful attributes is its natural landscape and the massive scale thereof. However, this essential characteristic of the country has been something that many American composers have neglected (or at least struggled) to incorporate effectively into their music, focusing instead on human-centric cultural or traditional elements.

John Luther Adams breaks that mold, using the beauty, power, complexity, and scale of the American landscape itself as the inspiration for much of his work. Going further, Adams lived in Alaska, that state that perhaps best encapsulates the awesome power of the American landscape, for many years. He has managed to forge a unique and engrossing musical language that transports listeners to mountaintops, ocean shores, and glacial snowfields. – Seth Tompkins

Tune in to Second Inversion in the 6pm hour on July 4 to hear this piece.


Nico Muhly: Mothertongue (Bedroom Community)

Nico Muhly is an American contemporary composer whose mission is to gnaw at the edges of classical & rock/pop. Mothertongue is a fun example of how he melds genres, combining the intimacy and beauty of chamber music with a conceptual pastiche that adds fidgety energy to the mix. In the first movement, “Archive,” Muhly accomplishes this by incorporating the beauty of Abby Fischer’s voice speak-singing a jumble of numbers and places which, turns out, are all addresses where Muhly & Fischer have lived.

In “Hress,” the frenetic third movement, found sounds (pouring coffee, crunching cereal, etc.) create a morning routine. Don’t expect “Hress” to evoke a lazy Sunday sunrise, though. As the music picks up it’s clear these are the sounds of someone either hungover or extremely jet-legged going through the motions to get out the door and on with the day. Mothertongue proves Muhly has a knack for finding the sweet spot between concept and emotional connection; he’s corroding classical boundaries and inviting the next generation to explore his musical Pangaea. – Rachele Hales

Tune in to Second Inversion in the 9pm hour on July 4 to hear this piece.


Amir ElSaffar: Shards of Memory/B Half Flat Fantasy

I love this music! I’ve never heard anything like it. ElSaffar has fused together a lot of different musical traditions in this, but what stands out to me most are the jazz and the Middle Eastern sounds. ElSaffar is the child of an Iraqi immigrant and an American. He was born outside of Chicago, and grew up listening to his dad’s jazz collection. His first musical training was in a Lutheran church choir. Iraqi music came later for him—in 2001 he used the money he got from winning a jazz trumpet competition in to go to Iraq and study something called maqam music, and he spent the next five years studying with Iraqi masters in the Middle East and Europe. Anyway, I love how these traditions come together in his music so effortlessly to make something new. – Dacia Clay

Tune in to Second Inversion in the 11pm hour on July 4 to hear this piece.

Seattle Symphony Spotlight: John Luther Adams on “Become Desert”

by Dave Beck

Composer John Luther Adams describes his work with Seattle Symphony Music Director Ludovic Morlot and the SSO musicians as “one of the happiest musical relationships of my life.” It’s a collaboration that has resulted in a Pulitzer Prize and Grammy Award for 2013’s Become Ocean.

Five years later, that collaboration continues with the world premiere this week of Adams’ Become Desert. It takes place Thursday night, March 29, and Saturday night, March 31 in Benaroya Hall—with Ludovic Morlot conducting the Seattle Symphony and members of the Symphony Chorale.

John Luther Adams speaks with Classical KING FM’s Dave Beck in our studios about moving from tundra to desert, his fascination with immense spaces, and the importance of using the right tools—in his case, the best number 2 pencil that can be found.

Listen to the full interview below.


The Seattle Symphony presents the world premiere of John Luther Adams’ Become Desert on Thursday, March 29 and Saturday, March 31. For tickets and additional information, please click here.

The Essential John Luther Adams

by Michael Schell

Did you miss Second Inversion’s John Luther Adams Marathon on March 28? Are you interested in exploring the music of America’s most famous ecologist-composer by sampling a few key pieces? If so, check out this selection of JLA’s most indispensable albums to date.

Earth and the Great Weather

If you’re ever remanded to a desert island where you can take along a single John Luther Adams album, this is the one to pick. Subtitled A Sonic Geography of the Arctic, this ten-movement composition from 1993 was Adams’ breakout piece. It’s both an ecological oratorio of the far North and a compendium of the techniques that Adams would hone over the next 25 years: haunting drones and trills, ritualistic taiko-like drumming, and overtone-based textures inspired by his teacher James Tenney (compare the latter’s Shimmer to this album’s track Pointed Mountains Scattered All Around). It even has some things you don’t find in other Adams pieces, such as Alaska nature recordings and texts from Native Alaskan languages


The Far Country

This is another fine sampler album from 1993 that features three medium-length pieces for large ensemble. Dream in White on White is a plaintive work for strings and harp reminiscent of Stravinsky’s Orpheus. The early choral composition Night Peace openly displays its debt to Feldman’s Rothko Chapel. The Far Country of Sleep begins with a solo trumpet motif that’s almost identical to Strauss’ Also sprach Zarathustra, but as this orchestral piece progresses, it makes clear that its philosophical affinity is with Rachel Carson rather than Nietzsche.


Inuksuit

This outdoor piece for multiple percussionists has been performed all over North America (including here in Seattle in 2015). Adams considers this recording, three years in the making and captured on location in rural Vermont, to be a definitive representation.


Become Ocean

And here it is: Seattle Symphony’s Grammy Award-winning recording of Adams’ Pulitzer Prize-winning piece. Released in 2014, it’s the first recording of Adams’ music by a major orchestra. Although the sound world of Become Ocean isn’t all that far from Ravel’s daybreak scene in Daphnis et Chloé, Adams’ instinct as an ecologist is to let his textural soundscape unfold on its own terms and at its own pace, with a minimum of intervention. Indeed, this work is so well proportioned that it seems much shorter than its 42-minute duration. Become Ocean is both a fulfillment of the trajectory of Adams’ work since Earth and the Great Weather and a searchlight illuminating the wonders yet to come from this imaginative composer.


The Seattle Symphony presents the world premiere of John Luther Adams’ Become Desert on Thursday, March 29 and Saturday, March 31. For tickets and additional information, please click here.

A Spotify version of our Essential JLA playlist is available below:

John Luther Adams Marathon: Streaming Worldwide!

Photo by Pete Woodhead.

by Maggie Molloy

Lose yourself in immersive sonic landscapes of John Luther Adams this Wednesday during our eight-hour marathon of his music on Second Inversion! Tune in on Wednesday, March 28 from 9am-5pm PST for a full eight hours of music by the Pulitzer Prize-winning composer whose newest orchestral work, Become Desert, receives its world premiere this week at the Seattle Symphony.

Become Desert is the highly-anticipated sequel to Adams’ orchestral masterwork Become Ocean, which was commissioned and recorded by the Seattle Symphony in 2013. Become Ocean is a 45-minute orchestral approximation of the ocean’s ebb and flow—and it flowed right to the top of classical music charts. The piece went on to win the 2014 Pulitzer Prize for Music and the 2015 Grammy Award for Best Contemporary Classical Composition.

Living in Alaska for most of his career, Adams’ music has always been inspired by landscapes, ecology, environmentalism, and the natural world—and though he now splits his time between New York and the Mexican desert, his music is still profoundly immersed in the spirit of nature. While Become Ocean submerges the audience in broad waves of sound and shimmering detail, Become Desert takes its inspiration from stillness, space, and light of the desert. At their core, both pieces reflect on two contrasting manifestations of global warming: sea level rise and desertification. 

Adams’ work also holds a very special place in Seattle. In addition to the world premiere of Become Ocean, the Seattle Symphony has performed a number of Adams’ pieces during their Tuning Up! Festival and their [Untitled] series. Last year Emerald City Music also premiered one of Adams’ chamber pieces inspired by the sounds of the Sonoran Desert, titled “there is no one, not even the wind…”

Our marathon this Wednesday features music from throughout Adams’ career, ranging from studies on Georgia birdsongs to field recordings and Alaska Native poetry, metaphysical drum meditations, and expansive sonic geographies—all culminating in the Seattle Symphony’s surround-sound recording of Become Ocean.

Click here to tune in, and read below to learn a bit about our hosts’ favorite musical selections from our John Luther Adams marathon.

John Luther Adams: Become Ocean (Cantaloupe Music)
Seattle Symphony
Ludovic Morlot, conductor

Global devastation never sounded prettier than in John Luther Adams’ apocalyptic musical palindrome Become Ocean. Inspired by the oceans near his former home in Alaska, Adams composed this piece commissioned by Seattle Symphony as a response to what he noticed in the world around him: ice caps melting, sea levels rising, and humanity neglecting to address the changes that impact our future. The fact that human life emerged from the ocean and may soon be destined/forced/doomed to return to the expanse of water is reflected in the palindromic structure of the piece itself; from the second climax indicating a tidal surge the music is played in reverse. Despite the subject matter, Become Ocean feels less like flailing and choking in the ocean’s turbulence and more like floating peacefully on its calm surface. – Rachele Hales


John Luther Adams: The Light that Fills the World (Cold Blue Music)
Unnamed ensemble

From a distance, the Arctic tundra looks like a vast white canvas—up close, it shimmers with infinite color and detail. John Luther Adams spent much of his life exploring the intricacies of that limitless canvas, composing from a 16×20 ft. one-room cabin in the Alaskan woods. He composed The Light That Fills the World during the early dawn of spring one year when, following the long darkness of winter, the landscape was still white with snow and filled with brilliant new light.

Scored for a mixed chamber ensemble of winds, strings, and percussion, the piece captures the slow and sacred rising of the sun across that vast blanket of snow: the way the surface of the earth shifts with that cosmic change of color, the way the broad, seemingly static fields of sound sparkle with enigmatic detail—and the way the listener floats, suspended in that bright and all-consuming light. – Maggie Molloy


John Luther Adams: The Wind in High Places (Cold Blue Music)
JACK Quartet

In the JLA catalog, this piece is a favorite of mine for two reasons. As someone who appreciates places with a significant altitude component (a hiker), I connect deeply with what I perceive as this piece’s portrayal of the unsentimentality of high places. Such places, like all of nature, have no stake in your personal successes or failures, but they are often strikingly beautiful, and made more so by their neutrality.

I also love this piece for its skillful construction and bold technical limitations. The idea of a string quartet entirely made of natural harmonics (where the players do not use the left hand fingers at all) seems outlandish and silly on the surface. But, in this piece, it works. Credit for success in any decent recording of this piece certainly belongs in large part to the performers, but this unusual element also signals the composer’s skill, especially in the face of self-imposed rules. – Seth Tompkins


John Luther Adams: Tukiliit (Cantaloupe Music)
Lisa Moore, piano

John Luther Adams’ large ensemble works each feel like something that has no real beginning or end; something that has existed for eternity, like a place in nature waiting to be discovered. His solo piano work Tukiliit is different. This piece seems to have a clear trajectory, if not a beginning, middle, and end. In a Pictures at an Exhibition-like way, it seems to portray the grandeur of some timeless outdoor fixture with big, towering chords.

The subtitle, “The Stone People Who Live in the Wind,” is an attempt at a literal translation of the main title Tukiliit, which also serves as the Inuktitut word for any stone object with special meaning. The music seems to meander from stone statue to statue, taking in their cold beauty and exploring the majesty of their surroundings. – Geoffrey Larson


John Luther Adams: Strange Birds Passing (Mode Records)
New England Conservatory Contemporary Music Ensemble
John Heiss, conductor

I love learning about the creative processes of artists and how their work develops over time. There’s something totally fascinating about a human being who’s unleashed creatively, and about how artists dive into the brain’s idea factory, venture out into the world, and look into the self, seeking this nebulous carrot on a stick, i.e., finding a way to really, finally, wholly say what they mean to say about what needs to be said.   

Recently, I had the pleasure of learning about John Luther Adams’ creative process. It turns out that over time, he came up with this idea called “sonic geography” which he has said is about the “imaginary territory somewhere between human imagination and the world around us.” Which is very different from his approach on his first album, songbirdsongs. At that point in time, JLA was into direct translations of the natural world into music. He studied bird song in particular regions—each movement of the album representing a different one—and scored the bird song into…people song. The orchestration is complex and innovative, but the idea at its core is pretty simple. In Strange Birds Passing, it’s almost as if you’re hearing Adams’ first inkling of how to say what needed to be said, nearly free of his later abstraction. Both are totally compelling. But this little window into the beginning of his process is super cool. – Dacia Clay


The Seattle Symphony presents the world premiere of John Luther Adams’ Become Desert on Thursday, March 29 and Saturday, March 31. For tickets and additional information, please click here.