This performance appeals to an audience interested in the sensory exploration of themes central to the human experience, particularly religion, as we venture into Missy Mazzoli’s New Dark Age. The program opens with Bach’s Contrapunctus 14, starting with the iconic B-A-C-H motif in the third fugal subject. In the absence of a countersubject, the piece transitions seamlessly into an Hommage to Bach by Zbinden, beginning with a low B-flat in the solo double bass. The motif reappears, evolving throughout the piece, and concludes in breathless unison.

Without pause, I transitioned from bass to podium to conduct Mazzoli’s New Dark Age, followed by a premiere of Deterioration, written by composer Flo Lloyd. As Flo describes, “Deterioration is built from short double bass samples that are gradually manipulated to become distorted and glitchy—synth-like. It takes inspiration from themes of beauty, tradition, and distortion, translating them into a study of the unnatural, uncanny, and unrecognizable. The simple textures evolve into sharp, metallic sounds when excessively processed through various digital lenses, pushing the double bass’s rich spectral sonorities to extreme lengths and amplifying the complexities of the sound.”

This pivotal piece sets the stage for Mazzoli’s work, exploring themes of religion in a world on the brink of a new dark era. Replacing traditional orchestration, Mazzoli employs four synthesizers, a drum kit, and other instruments of similar tonal strength, creating a unique sonic texture. The sacred atmosphere is palpable, with two sopranos and an alto offering poetic invocations to the sky.

In tandem, custom lighting scenes translate the frequencies from the musical harmony into real-time color shifts. As Bach’s purity remains untainted, the moment the bass strikes a low B-flat, the room’s visual atmosphere shifts—anxious yellow hues gradually transition into deep blues, responding to octave shifts and modulations. As Mazzoli’s piece unfolds, the color evolves into darker blues and purples, ultimately plunging into the profound depths of darkness.

This performance takes the audience on an immersive journey through genres—Baroque, contemporary, rock, sacred, electronic, and film music—delivering a rich, layered experience. The planning and rehearsing process allowed me to collaborate with expert performers, administrators, and sound and lighting technicians to fully bring my artistic vision to life. I am incredibly grateful for this opportunity and excited to continue developing and expanding the future of this program. 

I had the pleasure of performing the first movement of the Vanhal Bass Concerto with the Chamber Orchestra in December. Over a month of rehearsals, I gained valuable insights working and collaborating with this great orchestra and its conductor Brooke Day. These rehearsals were filled with laughter and ultimately made for a performance among friends. It was a privilege to perform alongside this group, and I look forward to collaborations in the coming year.