Composer Lei Liang and Scripps oceanographers take deep dive in Arctic to create game-changing 'Six Seasons'

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Composer Lei Liang and Scripps oceanographers take deep dive in Arctic to create game-changing 'Six Seasons'
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The acclaimed composer's new work may suggest to some a dizzying, high-tech musical collaboration between mother nature, Jacques Cousteau and Jules Verne

Live music venues can be found year-round across San Diego, which appears to have more major outdoor venues than any other city in California

Roughly the size of a side-by-side washing machine and dryer, HARP is, in essence, an underwater recording studio. Make that, an unmanned underwater recording studio designed specifically to capture the sounds of nature from deep beneath the ocean surface for extended periods of time. And there is nothing standard about his desire and ability to bring together the world of music with other disciplines rarely thought of in the same breath.

Much of the source music in Lei Liang’s new composition, “Six Seasons,” was recorded on the sea floor of the Arctic Ocean, using two of Scripps Institution of Oceanography’s HARPs . One of the HARPs used for Liang’s piece is shown here being raised on to the U.S. U.S. Coast Guard icebreaker Healy.The first musical manifestation of his “Healing” seminar is “Six Seasons,” which will be followed by a full orchestral work about and inspired by the earth’s oceans.

Liang’s enthusiasm, knowledge and attention to detail have impressed Jones, who has been at Scripps since 2002. He has the unique distinction of having previously worked with Roger Payne, the marine research scientist whose 1970 album, “Songs of the Humpback Whale,” was a gateway for listeners who had paid little attention to the music being made in the ocean by earth’s largest inhabitants.

Witness Wagner’s “The Flying Dutchman,” Elgar’s “Sea Pictures,” Debussy’s “La Mer” and Ravel’s “Une Barque Sur l’Ocean.” And witness more recent works, such as Gavin Bryars’ “The Sinking of the Titanic,” Douglas Quin’s “Fathom” and Chris Watson’s “Oceanus Pacificus.” “That really made me and the musicians become aware of how precious these sounds are and what it means for us to listen to them. And it made us better appreciate what we need to do to tell stories with these sounds.”

While there will be some seating, the elevated rows of chairs in the theater have been removed, as have the elevated rows themselves. So has the stage. Rather than play side by side, each member of the Mivos Quartet —

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