1Ross, Alex, “Water Music: John Luther Adams's “Become Ocean” at the Seattle Symphony,” New Yorker, 8 July 2013, 92–93.
2Luther Adams, John, “Strange and Sacred Noise,” in Winter Music: Composing the North (Middletown, CT: Wesleyan University Press, 2004): 130–36.
3 For Cage's mesostic poem, which spells out Lou Harrison's last name in capital letters (the final lines are “we becOme/oceaN”), see Cage, John, “Many Happy Returns,” in Empty Words: Writings ’73–’78 (Middletown, CT: Wesleyan University Press, 1979), 6.
4John Luther Adams, “Music in the Anthropocene,” in Postmodern Music, Postmodern Listening, ed. Carl, Robert (London: Bloomsbury, 2016): 315–18.
5 For this effort, Morlot augmented his already-full ensemble with several string players, a horn player, a clarinetist, and—crucially, given the instrument's prominent role in the piece—three harpists.
6Edward Davis, D., “Reviews: John Luther Adams, Inuksuit and Become Ocean,” Polygraph25 (2016): 175–82.
8 Many thanks to Elena Dubinets, a musicologist at the University of Washington and the Vice President of Artistic Planning for the Seattle Symphony, for corresponding with me as I prepared this review and for clarifying aspects of the recording process.
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