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„So wie er probt“, sagt der Cellist Sven Faulian von den Münchner Philharmonikern, „kann ich mir vorstellen, dass er es auch komponiert hat.“ Die etwas rätselhafte Rede zielt auf John Adams, den berühmtesten Komponisten der USA, der gerade mit dem halbstündigen Dreiteiler „Harmonielehre“ sein berühmtestes Orchesterstück in der Isarphilharmonie probt. Der sportlich feingliedrige 78-Jährige ähnelt einem Tänzer, die Haare weiß, kurz geschnitten, Nickelbrille. Jetzt sitzt er auf dem Dirigentenhocker vor den Musikern und zaubert mit dem Dirigentenstab die Musik aus dem Orchester heraus: gläsern geheimnisvolle Klänge und trippelnde Rhythmen und Repetitionen, in die sich Verschiebungen mischen, Störaktionen, Ahnung von Apokalypse. So energiegeladen wie die Musik agiert auch Adams. Probenstil und Musik stimmen verblüffend überein.
John Luther Adams' new album, Become Ocean, comes out Sept. 30. Molly Sheridan/Courtesy of the artist hide caption
When John Luther Adams' sweeping orchestral piece Become Ocean was performed at Carnegie Hall for the first time in May, it was also the first time the composer had attended a concert there. As Adams told my colleague Tom Huizenga in April, when Become Ocean won the Pulitzer for music: "Early on, I didn't win the right prizes. It seems that every time I had the opportunity to make the right career choice, I made the wrong career choice, which in the long run turned out to be the right artistic choice."
Even though public recognition has been too long in coming, Adams' music has found its rightful place, and the timing of a piece the composer explicitly links to environmental issues — the melting of polar ice and the rise of global sea levels — couldn't feel more urgent. Aesthetically and thematically, this is the time for Become Ocean.
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