John Luther Adams’s music is inspired by nature, especially that of
Alaska. He does not try to represent nature through music, but rather creates an
immersive listening experience that evokes the same feelings as nature. Become
Ocean is a gradually building, minimalistic orchestral piece, 42 minutes in
length, reminiscent of the minimalism of Glass and Reich, but much quieter. Reminiscent
of a landscape painting, I would call it a waterscape sonification. It is dark,
brooding and ultimately unsettling. It flows like oceanic waves, but also like
tidal waves, fading out and coming back again. Ultimately, it is not about the
ocean, but about becoming-ocean in a Deleuzian way, about the human in the Anthropocene
and how we depend on the very nature we destroy.
Become Ocean fades in slowly with a low rumbling noise, Wagner’s Rheingold without the uplifting brass melodies.
The instruments of the orchestra join in, one by one, the piano, strings,
woodwinds, brass instruments, percussion. At first, they play their own thing. This
is Cage’s “Eight” all over again, tones that coexist in a common landscape – or
seascape, for that matter. Gradually, they ‘become ocean.’ Some play a small melody
while others hold an accompanying base note. There are small bubbles coming
from below the surface, but also deep insights into the endless abyss. After about
seven minutes, all instruments create a crescendo that falls apart like a breaking
wave. Only to start from nothing again. After the last collapse, all that
remains is deafening silence.
While Become Ocean recreates
the beauty and vastness of and endless body of water, there is also a constant
feeling of threat, uneasiness, and inevitability. After the wave breaks for the
first time, one knows that it will happen again, until it will happen no more. It
is not easy to listen to, but at the same time demands to be listened to again
and again. It might well be a prediction of the last sounds heard on Earth, long
after humanity is gone.
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