The Dawn of Robotic Musicianship: Veer (bot) Takes the Stage

As the Malmö Symphony Orchestra gathered for the grand finale of the evening at Malmö Live Concert Hall, attendees were in for a remarkable surprise. Among the musicians in the pit was an extraordinary participant—a robotic cellist. This innovative creation, known as Veer (bot), took center stage, performing a mesmerizing cello solo in a groundbreaking composition by Swedish composer Jacob Mühlrad.

Veer (bot) was no ordinary machine; its intricate design featured two robotic arms extending from the floor, one wielding the bow while the other expertly pressed the strings of the cello. Unlike a human cellist, the robot’s bow was firmly attached, allowing for a precision of movement that is impossible for human musicians. Related

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This remarkable performance was a part of Mühlrad’s latest piece, aptly titled ‘Veer’. The robot was programmed to execute the music flawlessly, delivering long, sustained notes while standing in stark contrast to the human orchestra surrounding it. “Even the vibrato can be programmed,” Mühlrad shared with Euronews Culture, highlighting the meticulous attention to detail involved in the creation of Veer (bot).

At just 33 years old, Mühlrad is a rising star in the world of contemporary music. He reached out to fellow Swedish composer and researcher Frederick Gran to discuss his concept for the robotic cellist, which eventually led to the creation of the Cello Concerto No. 1. “We began a dialogue, and each week he introduced new features,” Mühlrad recalled, reflecting on the collaborative journey that brought Veer (bot) to life.

As Gran implemented various enhancements—from synchronization to advanced tonal capabilities—Mühlrad pondered whether the robot had ever performed with an orchestra. Realizing it hadn’t, he set out to compose a piece specifically for this unique collaboration. The result was ‘Veer’, designed to showcase the potential of the mechanical cellist within the context of a full orchestral performance.

While Mühlrad envisions a future where robotic musicians might respond to a conductor like their human counterparts, Veer (bot) was entirely pre-programmed for this particular concert, down to the finest nuances of sound. Freed from the constraints of human anatomy, Veer (bot) has the potential to tackle compositions that would be nearly impossible for human musicians to execute. “It’s akin to a MIDI Keyboard,” Mühlrad explained, drawing parallels between robotic and digital musical capabilities. “There are more musical parameters at the cello, such as intonation and bow pressure, that influence the sound.”

Though the performance of ‘Veer’ was relatively straightforward, Mühlrad’s imagination runs wild with the possibilities that this technology presents. He envisions compositions that explore the realms where human performance falls short, from microtonal quartets played by robots to glissandos that unfold at an impossibly slow pace. Yet, he remains firmly grounded in the belief that human musicianship retains an irreplaceable value. “The human is… you can’t even compare it,” he asserts. “Witnessing a person grip the cello and express their inner emotions is nothing short of magical.”

Interpretation is a fundamental aspect of classical music, whether it’s a deliberate choice, like emphasizing melodic lines in a Bach fugue, or the unintentional nuances brought on by a musician’s state of mind—be it fatigue or excitement from a large audience. “All those human elements that influence musical expression cannot be replicated by a robot,” Mühlrad emphasizes. He perceives Veer (bot) not as a replacement for human musicians, but as an innovative tool that can enhance the musical landscape.

Mühlrad envisions a future where human and robotic cellists perform alongside one another, each contributing unique qualities to the ensemble. While the complexity of musical interpretation may shift from the conductor to the composer, the essence of creativity remains intact. ‘Veer’ may have been a straightforward composition, but Mühlrad selected it deliberately to “reveal the soul and capture the essence of the robot.”

Even with the extensive programming undertaken by Mühlrad and Gran, moments of unexpected interpretation still emerged. “During the concert in Malmö, there was a point where the pressure was slightly off, resulting in a harmonic tone that resonated an octave higher than intended,” he noted. Such instances highlight the rich interpretive complexity inherent in live music.

As for the emotional depth of robotic performance, Mühlrad confidently states, “People often find themselves moved to tears by electronic synthesizers.” He views Veer (bot) as an exciting addition to a composer’s creative toolkit, firmly refuting the notion that it could ever supplant the artistry of human musicians. “When people raise concerns about technologies like the ABBA Voyage hologram concerts, questioning the future of live artists, I see it merely as the evolution of another medium,” Mühlrad reflects. “There’s no need for fear—humans will always hold their place in the realm of music.”