Its name describes it perfectly. “Beta Collide,” a University contemporary classical ensemble, is an expressive incorporation of genres, art forms, personality, musical energy and concepts.
The Eugene-based group, made up of University music instructors Tyler Abbott, Molly Barth, Brian McWhorter, Idit Shner and David Riley, has taken the contemporary classical music scene by storm with its innovative musical performances, made up by a group of talented and creative musical minds.
“For me, the group works because of the musical personalities involved,” bass player Abbott said.
The group, which started in 2008, is directed by Grammy-award-winning flautist Barth (formerly of the ensemble “Eighth Blackbird”) and McWhorter (of the “Meridian Arts Ensemble”). Other players include saxophonist Shner, pianist player Riley, percussionist Phillip Patti and accordion player Michael Ward-Bergeman, as well as other musicians and vocalists who occasionally perform with them.
Though their music is rooted in the contemporary classical genre, their sound is indescribable.
One of the more mainstream pieces the group has played is a remix of Radiohead’s “Nude,” which the group members contacted and collaborated with Radiohead on long-distance.
Most of the time, however, contemporary classical music doesn’t always easily reach the mainstream audience.
“It’s often the music you don’t want to listen to,” McWhorter said.
Their self-described boundary-pushing music is something that takes the listener by surprise; there’s nothing ordinary or predictable about it.
Riley describes their music as “a search for expression that resonates with contemporary culture.”
McWhorter and Abbott both describe it as a mix of several genres such as art, music, improv, electronics and more.
On their newest album “Psst!,” released Aug. 31, the musicians play several pieces written for them, as well as remixes or reinterpretations of other pieces. The most accessible piece on the album is the remix of “Nude.” The song ends the album as a total change from the rest of the pieces. Though it doesn’t entirely match the sound of the other songs, the remix is beautiful and languid, with more depth than the original.
The rest of the album differentiates itself from other classical contemporary music groups like the Kronos Quartet, the Grammy-award-winning contemporary string quartet, for many reasons. While Kronos tends to utilize strong, sweeping melodies and harmonies in its pieces, Beta Collide takes a more scattered approach toward its music on this album. McWhorter said the group tries to bring context to its pieces. They interject their solo instruments like bebop jazz, but the solos aren’t quite as pronounced. They also use voice in some pieces, like “Mysteries of Macabre.” On first listen, the pieces are jarring, but they make the audience want to hear the album again. On the second listen, the pieces come together, like a great art installation piece that takes several looks back to fully understand its meaning.  
McWhorter said the album is looking promising for a Grammy nomination. In the meantime, the group will tour and promote its album in Seoul and New York next year for a series of workshops. The group is also trying to cultivate itself in places like Mexico and the East Coast.
Beta Collide recently released its music video for the song “Mysteries of Macabre.” The group is also prominently featured in the recently released documentary, “There’s No Sound in My Head,” a film by Robert Arnold about Mark Applebaum’s Metaphysics of Notation.
The non-stop projects are exciting for the group.
“We have no idea what’s going to happen next and I love that,” McWhorter said.
For Abbott, the energy behind Beta Collide and its members is what makes their music and performances truly engaging.
“One thing that really makes it work, there’s a feeling of spontaneity, excitement … a lot of positive musical energy,” Abbott said. “We do good work together.”
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