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Tag Archives: Electronics

Steven Bryant (b. 1972) is an acclaimed, award-winning composer whose works often straddle different media.  He is a three-time recipient of the National Band Association’s William D. Revelli Composition Award (2007, 2008, 2010). His first orchestral work, Loose Id for Orchestra, was “orchestrated like a virtuoso” according to celebrated composer Samuel Adler.  His unique works for wind band and electronics have received more performances than any other pieces of their kind.  His other work includes pieces for wind band (some with added electronics), orchestra, chamber ensembles, and electronic music.  He studied composition at The Juilliard School with John Corigliano, at the University of North Texas with Cindy McTee, and at Ouachita University with W. Francis McBeth.

Bryant wrote Ecstatic Waters, for wind band and electronics, in 2008 for a consortium of 15 college and high school wind ensembles.  It has been a sensation since its premiere in that same year, receiving dozens of performances.  As I write this, it is about to receive its orchestral premiere with the Minnesota Orchestra under the baton of Bryant’s old school chum, Eric Whitacre.  It has also spawned Ecstatic Fanfare, a short excerpt of the fanfare bits for wind band without electronics.  Bryant’s website really says everything there is to say about the piece, so I will quote him at length here (with some links added):

Ecstatic Waters is music of dialectical tension – a juxtaposition of contradictory or opposing musical and extra-musical elements and an attempt to resolve them. The five connected movements hint at a narrative that touches upon naiveté, divination, fanaticism, post-human possibilities, anarchy, order, and the Jungian collective unconscious. Or, as I have described it more colloquially: W.B. Yeats meets Ray Kurzweil in the Matrix.

The overall title, as well as “Ceremony of Innocence” and “Spiritus Mundi” are taken from poetry of Yeats (“News for the Delphic Oracle,” and “The Second Coming“), and his personal, idiosyncratic mythology and symbolism of spiraling chaos and looming apocalypse figured prominently in the genesis of the work. Yet in a nod to the piece’s structural reality – as a hybrid of electronics and living players – Ecstatic Waters also references the confrontation of unruly humanity with the order of the machine, as well as the potential of a post-human synthesis, in ways inspired by Kurzweil.

The first movement, Ceremony of Innocence, begins as a pure expression of exuberant joy in unapologetic Bb Major in the Celesta and Vibraphone. The movement grows in momentum, becoming perhaps too exuberant – the initial simplicity evolves into a full-throated brashness bordering on dangerous arrogance and naiveté, though it retreats from the brink and ends by returning to the opening innocence.

In Mvt. II, Augurs, the unsustainable nature of the previous Ceremony becomes apparent, as the relentless tonic of Bb in the crystal water glasses slowly diffuses into a microtonal cluster, aided and abetted by the trumpets. Chorale–like fragments appear, foretelling the wrathful self-righteousness of Mvt. III. The movement grows inexorably, spiraling wider and wider, like Yeat’s gyre, until “the center cannot hold,” and it erupts with supreme force into The Generous Wrath of Simple Men.

Mvt. III is deceptive, musically contradicting what one might expect of its title. While it erupts at the outset with overwhelming wrath, it quickly collapses into a relentless rhythm of simmering 16th notes. Lyric lines and pyramids unfold around this, interrupted briefly by the forceful anger of a chorale, almost as if trying to drown out and deny anything but its own existence. A moment of delicate lucidity arrives amidst this back-and-forth struggle, but the chorale ultimately dominates, subsuming everything, spiraling out of control, and exploding.

The Loving Machinery of Justice brings machine-like clarity and judgment. Subtle, internal gyrations between atonality and tonality underpin the dialogue between lyric melody (solo Clarinet and Oboe) and mechanized accompaniment (Bassoons). An emphatic resolution in Ab minor concludes the movement, floating seamlessly into the epilogue, Spiritus Mundi. Reprising music from Mvt. I, this short meditative movement reconciles and releases the earlier excesses.

Here is the US Marine Band in a live performance:

And here is Bryant’s series of “How-to” videos, explaining how the whole thing works with electronics, etc.:

Bryant likes and is comfortable in electronic media.  He has a YouTube account, a Twitter handle, and a Facebook fan page.  He has a fantastic website with a blog attached.  He also numbers the revisions of his music like computer software: for instance, his latest version of Dusk is version 1.4.  In his words, “The old version (1.2) is NOT compatible” with the new.  He also writes dedicated electronic music.  My favorite, which I heard when I sat in at his session at the Ball State University Conducting Workshop in 2012, is called Hummingbrrd.  Click the link to listen, and prepare to be amazed!

Steven Bryant (b. 1972) is an acclaimed, award-winning composer whose works often straddle different media.  He is a three-time recipient of the National Band Association’s William D. Revelli Composition Award (2007, 2008, 2010). His first orchestral work, Loose Id for Orchestra, was “orchestrated like a virtuoso” according to celebrated composer Samuel Adler.  His epic work for wind band and electronics, Ecstatic Waters, has received more performances than any other piece of its kind.  His other work includes pieces for wind band (some with added electronics), orchestra, chamber ensembles, and electronic music.  He studied composition at The Juilliard School with John Corigliano, at the University of North Texas with Cindy McTee, and at Ouachita University with W. Francis McBeth.

The Machine Awakes is the result of a 2012 commission from a consortium of 20 schools.  It is unique in at least two respects.  First, while it is a grade 2 piece, it comes with optional grade 3 parts, allowing more advanced players a greater challenge that fits in with the rest of the band.  More importantly, it may be the first piece ever written for young band and electronics.  Bryant gives it a Terminator-like back story as well:

The Machine Awakes is the sound of something not human (but of humans hands) – something not entirely organic, but most definitely alive – waking up for the first time. From the opening swirling textures, we sense the first hesitant sparks of thought, attempting to find form and coherence. This new machine – sentient, aware – comes fully awake, possessed of emphatic self-determination and unfathomable purpose.

Read more about The Machine Awakes at Steven Bryant’s website and his blog (twice).  Read up on Bryant himself at Wikipedia.

Here’s the piece in a live performance by a high school band.

Go to Bryant’s website for more recordings of the piece, including the original MIDI realization and a near-professional live recording.

Obviously Bryant likes and is comfortable in electronic media.  He has a YouTube account, a Twitter handle, and a Facebook fan page.  He has a fantastic website with a blog attached.  He also numbers the revisions of his music like computer software: for instance, his latest version of Dusk is version 1.4.  In his words, “The old version (1.2) is NOT compatible” with the new.  He also writes dedicated electronic music.  My favorite, which I heard when I sat in at his session at the Ball State University Conducting Workshop, is called Hummingbrrd.  Click the link to listen, and prepare to be amazed!