Interviews with Libération and France Classique

Ahead of the French premiere of Mason’s piano concerto on September 16, 2022, Mason joined Eric Dahan from Libération to talk about his current works, his inspirations for writing and the upcoming premiere.

The first movement of this concerto is inspired by baroque music. The second, more romantic, it expresses the duality of the soloist and the orchestra who do not play together, which references to the Covid epidemic which has isolated us. In the last movement, we find elements of jazz and techno, especially in the treatment of rhythm and percussion because there are no electronics in this work. By techno, I mean a textural, almost industrial effect obtained by the high frequencies of the percussion, because I agree with the fact that repetition of measures in four beats is boring. For me, in music, only expressiveness counts.”

Read the full article with subscription on the Libération website.

Mason also spoke with Thomas Vergracht on France Musique last weekend for their Crossroads of Creation segment to discuss more about the Piano Concerto, pianist, Daniil Trifonov, and upcoming performances of the work in Europe this year.

Listen to the full interview on France Musique.

L’Orchestre Philharmonique de Radio France and virtuoso pianist, Daniil Trifonov, will give the European premiere of Mason’s Piano Concerto on Friday September 16th under the baton of Mikko Franck. The premiere will also be broadcast live on France Musique at 8pm CEST.

Upcoming performance dates:

Orchestre Philharmonique de Radio France

Friday September 16, 2022

The Spanish National Orchestra

Friday October 7, 2022

Saturday October 8, 2022

Sunday October 9, 2022

Rotterdam Philharmonic Orchestra

Friday October 14, 2022

World premiere of Whalesong broadcast on BBC TV

The world premiere of Mason’s Whalesong, performed by Southbank Sinfonia, conducted by Kwamé Ryan, will be broadcast on BBC iPlayer at 9am BST on September 10, 2022.

Whalesong was performed at The Royal Albert Hall for the BBC Proms on July 23, 2022, and celebrates the majesty and power of Earth’s largest animals.  The piece integrates recordings of whalesong into a symphonic narrative about a lone whale, represented by a solitary horn in the opening, that ultimately reunites with its pod in the soaring finale.  Whalesong is dedicated to Sir David Attenborough in admiration for his lifelong efforts to help us better understand the natural world.

BLOG: Soundcheck in C Major

The birth of a new concert hall occurs so rarely that it always calls for special celebration and, often, a new work to christen it.  When the San Diego Symphony unveiled its architectural masterpiece The Shell, they invited me to compose a piece to show off the new space, the superb orchestra, and the cutting edge sound system.

Soundcheck in C Major is a fanfare animated by sonic effects.  The opening shimmering chords echo electronically and then fly over the audience, tentatively testing the concert hall, before the orchestra builds to a resonant unison.  A resolute march ensues and then evolves into a quicksilver passage showcasing solo players, before soon building back triumphantly to the opening sonorities.

This short work is equally informed by the textural brilliance of Wagnerian overtures, the psychedelic sound design of Pink Floyd, and the famous THX ‘sound test’ that once kicked off many a night at the movies.

Synths at the Center

     • Give everyone a synthesizer, and all shall be well on Earth.

     • My exploration of the synth universe continues this month with Ekhodom, which KC Jukebox presents at the Kennedy Center’s new REACH campus.  A project of Thievery Corporation’s Giamaria Conti and Eric Hilton, it’s a deep dive into the warm and beautiful world of analogue synthesis.

     • This iconic instrument has played a leading cultural role for over half a century, from rock ’n roll to film scores. Less discussed is how “synthesizer symphonies” are descendants of the “organ symphonies” of Messiaen and other classical giants, a fascinating lineage.

     • Without synthesizers, there would be no Beatles or Pink Floyd, Bladerunner or Stranger Things. What quality do these  share? Psychedelia.

     • Synthesizers allow us to slowly swirl a chord into filigree, or animate a baseline into twitchy pulsations, or blend the sounds of two disparate samples into one. That creates a kind of aural version of a paisley shirt or a kaleidoscope – a morphing color wheel that feels otherworldly. The effect is enhanced when using analogue synthesizers, which use actual soundwaves instead of the 1’s & 0’s of digital synths (vinyl feels richer than a CD for the same reason).

     • Complementing Gianma and Eric’s synths was a string ensemble playing original arrangements written expressly for the occasion. Whenever I invite someone from outside the classical world to perform at the Kennedy Center, I make sure we throw a SWAT team of musicians at them. Strings are a great way to elevate an electronic soundworld, and creating new arrangements is a nice gear-shift from my normal zone of composing.

     • This month also brings a ballet based on The B-Sides to Cal Performances, with stunning choreography from Joffrey Ballet’s Nicholas Blanc. He has a marvelous eye for geometrical compositions, arraying his dancers in a variety of imaginative shapes.

     • Our collaboration began when New York City Ballet featured Mothership on their gala. Attending that event was one of the most exciting moments of my artistic life, since I’d spent so much time watching City Ballet as a Juilliard student. The Joffrey is one of the best companies in the country, and they are touring this work all over – so make sure you check them out if they come through your city.

     • The rest of the month has me polishing sound design for Philharmonia Fantastique, premiering soon at the Chicago Symphony and San Francisco Symphony. Amidst the beats and sound effects, there’s a good bit of sound originating from, yes, my collection of analogue synthesizers.