Bates has spoken about his symphonies as a revival of the narrative symphonies of the 19th century using 21st-century sounds,[21] as exhibited by his 2018 symphony Art of War. The piece "explores the drama of human conflict" using field recordings of mortar and artillery explosions made during two visits to Camp Pendleton, as well as recordings of the printing presses of the US Mint which appear in the work's opening movement 'Money as a weapons system'.[22]
Some of his works do not include electronic sounds, such as Resurrexit, which was commissioned by Pittsburgh Symphony Orchestra in celebration of Manfred Honeck's 60th birthday.[23][24] Honeck conducted its premiere in 2018.[25]
While gaining national prominence for his electro-acoustic symphonic music, Bates began experimenting with concert format in his curating projects in partnership with institutions such as the Chicago Symphony Orchestra and the Kennedy Center.[28] Through his club show Mercury Soul, Bates became familiar with lighting, production, and staging techniques that create fluid, information-rich environments in social settings. With composer Anna Clyne, Bates expanded the Chicago Symphony's MusicNOW series to include cinematic program notes, immersive production, and pre- and post-concert parties in partnership with the illmeasures DJ collective.[29] After his residency with the CSO, Bates was named the first composer-in-residence of the Kennedy Center for the Performing Arts in Washington, D.C., where he launched the new-music series KC Jukebox.[30][31] The series animates venues across the center, pairing classical ensembles and composers with artists outside the field, such as Thievery Corporation and the composers Kyle Dixon and Michael Stein of the Netflix series Stranger Things.[14]
Anthology of Fantastic Zoology (CSO Resound) by the Chicago Symphony Orchestra (2016)
The (R)evolution of Steve Jobs (Pentatone) by Santa Fe Opera (2018)
Referencesedit
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