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John Mackey
United States
Приєднався 18 чер 2006
Mackey: Divine Mischief (Concerto for Clarinet)
"Divine Mischief" by John Mackey
Julian Bliss, clarinet
Baylor Wind Ensemble, conducted by Eric Wilson
Live at The Midwest Clinic, December 20, 2022
For more info, including the solo part, please visit: www.johnmackey.com/music/divine-mischief/
0:00 - Intro
0:13 - i. A stranger and a game
7:03 - ii. Disappointment, regret, regression : A waltz
18:06 - iii. Spellbound
DIVINE MISCHIEF
i. A stranger and a game
The town square is as bustling as you would expect on market day, but neither shoppers nor sellers are to be found in the stalls. All eyes are fixed on a stranger wearing peculiar clothes and carrying a spectacular instrument who has appeared as if from nowhere. The stranger surveys the waiting audience, but does not play. The throng chants a fanfare, urging the stranger to perform.
The stranger begins, disastrously. The crowd cannot believe that the bearer of such an extraordinary instrument is unable to play, and vents its frustration at the horrific noises-until they transform into a delicate, lyrical melody. The audience sighs its approval. But as soon as the listeners begin to relax into the music, the stranger changes it. Slow becomes fast, discord disrupts delicacy, chaos creeps in-but only until the audience accepts the raucous new reality, at which point the player swerves again. And again. And again. The rules of the stranger’s game become clear: Follow me, as I leave you behind.
ii. Disappointment, regret, regression: a waltz
Realizing that the only way to win this game is not to play, the crowd begins to disperse, grumbling with disappointment. The stranger replies with a slow, sad waltz of apology, pleading for the people to return. Hesitant but eventually persuaded, the townspeople join in the dance.
Of course, this enchantment can’t last. Soon the stranger transforms the penance into parade and back again, making a joke of the crowd’s displeasure.
iii. Spellbound
The townspeople revolt. The stranger again tries to tempt them with apologies, to charm them with amusements-but the angry mob has had enough, even before the stranger undermines these overtures by mocking the very idea of sincerity. Yet the stranger plays on, sure the audience will succumb eventually. When the crowd registers the depth of the stranger’s determination to toy with them, the extremity of the stranger’s appetite for amusement, they recognize the stranger at last: this is the Trickster. A plan forms.
They play a snippet of a slow chorale, knowing the Trickster will echo and taunt them. And when the Trickster does just that, something happens; magic crackles in the air. The people play another snippet; the Trickster mocks them again-and that taunting echo casts a powerful spell, one that passes in shadow over the whole assemblage.
The shadow is the spell seeking its target, the one the spell will condemn to perform ever more stupendous feats for the amusement of the spellcaster. Who does the shadow seek? “Whosoever displeases by failing to amuse.”
But that, of course, the Trickster-the one who has spent all day taking pleasure at others’ expense, providing none in return. And so the Trickster is not only the spellcaster but also the spell’s target, self- condemned to play until the god’s own insatiable need for entertainment is satisfied. Which is to say, self-condemned to play forever.
The spell takes hold; the stranger-god plays. The townspeople celebrate the performance they have been waiting for all day. Divine virtuosity pours out, turning from trickle to torrent to flood. But the deluge can do nothing to slake the god’s endless thirst, nothing to fulfill the god’s now-eternal task.
The spectacle may pause, but only because ceaseless revels lose their charm. The show must go on. (And on, and on.) The player has become the plaything, the Trickster has been tricked.
Or so it seems. It’s so hard to tell, with Tricksters.
Julian Bliss, clarinet
Baylor Wind Ensemble, conducted by Eric Wilson
Live at The Midwest Clinic, December 20, 2022
For more info, including the solo part, please visit: www.johnmackey.com/music/divine-mischief/
0:00 - Intro
0:13 - i. A stranger and a game
7:03 - ii. Disappointment, regret, regression : A waltz
18:06 - iii. Spellbound
DIVINE MISCHIEF
i. A stranger and a game
The town square is as bustling as you would expect on market day, but neither shoppers nor sellers are to be found in the stalls. All eyes are fixed on a stranger wearing peculiar clothes and carrying a spectacular instrument who has appeared as if from nowhere. The stranger surveys the waiting audience, but does not play. The throng chants a fanfare, urging the stranger to perform.
The stranger begins, disastrously. The crowd cannot believe that the bearer of such an extraordinary instrument is unable to play, and vents its frustration at the horrific noises-until they transform into a delicate, lyrical melody. The audience sighs its approval. But as soon as the listeners begin to relax into the music, the stranger changes it. Slow becomes fast, discord disrupts delicacy, chaos creeps in-but only until the audience accepts the raucous new reality, at which point the player swerves again. And again. And again. The rules of the stranger’s game become clear: Follow me, as I leave you behind.
ii. Disappointment, regret, regression: a waltz
Realizing that the only way to win this game is not to play, the crowd begins to disperse, grumbling with disappointment. The stranger replies with a slow, sad waltz of apology, pleading for the people to return. Hesitant but eventually persuaded, the townspeople join in the dance.
Of course, this enchantment can’t last. Soon the stranger transforms the penance into parade and back again, making a joke of the crowd’s displeasure.
iii. Spellbound
The townspeople revolt. The stranger again tries to tempt them with apologies, to charm them with amusements-but the angry mob has had enough, even before the stranger undermines these overtures by mocking the very idea of sincerity. Yet the stranger plays on, sure the audience will succumb eventually. When the crowd registers the depth of the stranger’s determination to toy with them, the extremity of the stranger’s appetite for amusement, they recognize the stranger at last: this is the Trickster. A plan forms.
They play a snippet of a slow chorale, knowing the Trickster will echo and taunt them. And when the Trickster does just that, something happens; magic crackles in the air. The people play another snippet; the Trickster mocks them again-and that taunting echo casts a powerful spell, one that passes in shadow over the whole assemblage.
The shadow is the spell seeking its target, the one the spell will condemn to perform ever more stupendous feats for the amusement of the spellcaster. Who does the shadow seek? “Whosoever displeases by failing to amuse.”
But that, of course, the Trickster-the one who has spent all day taking pleasure at others’ expense, providing none in return. And so the Trickster is not only the spellcaster but also the spell’s target, self- condemned to play until the god’s own insatiable need for entertainment is satisfied. Which is to say, self-condemned to play forever.
The spell takes hold; the stranger-god plays. The townspeople celebrate the performance they have been waiting for all day. Divine virtuosity pours out, turning from trickle to torrent to flood. But the deluge can do nothing to slake the god’s endless thirst, nothing to fulfill the god’s now-eternal task.
The spectacle may pause, but only because ceaseless revels lose their charm. The show must go on. (And on, and on.) The player has become the plaything, the Trickster has been tricked.
Or so it seems. It’s so hard to tell, with Tricksters.
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Відео
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This is the midi demo of the upcoming full-band version of John Mackey's "Let Me Be Frank With You," premiering Fall 2021. For more info: www.johnmackey.com
Bernstein: Chichester Psalms (8 bit version)
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Movement 1 of Leonard Bernstein's "Chichester Psalms." Arranged for Commodore 64 by John Mackey, circa 1989.
Fugue #7 in Eb - J.S. Bach
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J.S. Bach Fugue # 7 in Eb Major from "The Well Tempered Clavier," book 1. Arranged for Commodore 64 by John Mackey sometime around 1987.
"Hors Concours" by (a very young) John Mackey
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Lacrimosa by John Mackey
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"Lacrimosa" by a very young (12-year-old) John Mackey, "performed" by a Commodore 64 8-bit computer. It doesn't get much dreamier than this, does it?
Mackey: Wind and the Rain
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"Wind and the Rain" music by John Mackey text by William Shakespeare, from Twelfth Night Jesse Lenat, vocal Mary Medrick, accordion Gale Hess, violin and mandolin Jan Ryberg, guitar www.johnmackey.com
Mackey: Cradle Song
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Cradle Song music by John Mackey, text by A. E. Jaques commissioned and performed by the Cedar Park High School Choir Lisa Holt, conductor available from www.johnmackey.com/music/cradle-song/ - Shut your eyes, little one I’ll be watching for you Shut your mouth, little one No crying now Time to sleep, little one Such a sweet thing you are Time to sleep, little one Just one night and you’re- -ju...
John Mackey : "Let Me Be Frank With You"
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"Let Me Be Frank With You" (2020) by John Mackey for adaptable ensemble (4-part drum set) Available only from : www.johnmackey.com
Mackey: Songs from the End of the World (orchestra version)
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"Songs from the End of the World" by John Mackey poetry by A. E. Jaques Lindsay Kesselman, soprano; Michigan State University Symphony Orchestra, conducted by Kevin Noe 00:09 : I. A long time alone 08:48 : II. Raveling 14:33 : III. At sea to view the full score, read the program note, etc, visit : johnmackey.com/Songs.php Poetry by A. E. Jaques I. A long time alone Dawn draws her rose-red finge...
Mackey: Sacred Spaces
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“Sacred Spaces” by John Mackey Performed by the United States Army Field Band Guest conducted by Jerry Junkin Pre-premiere sound check run-through at the Texas Bandmasters Association conference in San Antonio
Mackey: Until The Scars
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"Until the Scars" by John Mackey (adapted from "Wine-Dark Sea: Symphony for Band") performed by the Florida State University Symphonic Band Patrick Dunnigan, conductor Full score here : johnmackey.com/UntilTheScars.php
John Mackey : The Rumor of a Secret King (band version)
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John Mackey : The Rumor of a Secret King (band version)
Mackey: Antique Violences, mvt. 4: The curtain calls
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Mackey: Antique Violences, mvt. 4: The curtain calls
Mackey: Antique Violences, mvt. 3: Sorrow is a blade
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Mackey: Antique Violences, mvt. 3: Sorrow is a blade
Mackey: Antique Violences, mvt. 2: Secrets' teeth
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Mackey: Antique Violences, mvt. 2: Secrets' teeth
Mackey: Antique Violences, mvt. 1: The blooded lines
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Mackey: Antique Violences, mvt. 1: The blooded lines
The Rumor of a Secret King - by John Mackey
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The Rumor of a Secret King - by John Mackey
John Mackey: Fanfare for Full Fathom Five
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John Mackey: Fanfare for Full Fathom Five
Songs from the End of the World: 1. A long time alone
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Songs from the End of the World: 1. A long time alone
Songs from the End of the World: 2. Raveling
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Songs from the End of the World: 2. Raveling
Songs from the End of the World: 3. At sea
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Songs from the End of the World: 3. At sea
"Sheltering Sky" by John Mackey, perf. by the Baylor University Wind Ensemble
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"Sheltering Sky" by John Mackey, perf. by the Baylor University Wind Ensemble
John Mackey: Hymn to a Blue Hour, feat. Joseph Alessi
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John Mackey: Hymn to a Blue Hour, feat. Joseph Alessi
This has become genuinely one of my favorite pieces of all time. Both this specific movement, and the whole concerto!
Beautiful. Hints of Shenandoah and Nimrod.
This performace is done with so much emotion and the choreography just goes so well with Strange Humor. It's always a pleasure to watch!!!
Somewhere between brilliant and hilarious, but thank you!
Everything about this performance is so satisfying!!!!!
John, you write us such good music. Thank you.
The best band in the world.
So much moving
An honorable discharge of moonlit breeze as cool as camphor on chafed lips..
"Let me be frank with you" turns into frank
What are the metals used in this video? I’m playing this piece for my spring concert and I have the job to create the 4 metal piles
That xylophone part🤯 best damn counter melody I’ve ever heard on the xylophone
Use famitracker
nah i don’t like this I have to play the flute part and nty
The spin tube 😭😭
The only song where you wont notice any squeaks
Awesome ending. Bliss owns it. Terrific composition.
Feels so weird to listen to this after playing Hubris
Playing this for mpa 💪🏼💪🏼💪🏼
20:01 the most badass 10 bars ever written for a clarinet concerto
1:16
3:50
2:44
Is this from wine-dark sea?
Yes! It's a shorter, easier adaptation of the middle movement of Wine-Dark Sea.
Mr Mackey, I heard you love to go to BOA and next year I am preforming at BOA. I preformed at the 2023 BOA with the centralia high school band and I was hoping I could possiably meet you at next BOS in Indianapolis. My band director met you her name is Mrs.Aarons-Denison. I would love to meet you sometime. I also love your work my favorite piece is lightning field and I’m preforming that in concert this year.
I got to play this earlier this year! Fluttering was a first and was kinda tricky to learn (especially on bass clarinet lol) but it was so much fun!
I got to play this earlier this year! Fluttering was a first and was kinda tricky to learn (especially on bass clarinet lol) but it was so much fun!
I'm am very grateful to have been able to have recently worked on this amazing piece with John Mackey and I love it.
I hated playing this song.
I can confidently say I've never heard a piece of music that sounds quite like this one. Bravo!
Fantastic
seeing people talk about how they played this in hs is so funny because I played it in 7th grade hahhaha
There is actually no way 💀💀
I played this in 8th grade.
@@chyannedelbosque7180 it was certainly NOT easy and took almost three months for our band to put together but for a group of 7th and 8th graders I think it was still kinda impressive. our recording is on yt too
Where can I get the arrangement for my trombone group?
can we talk about that tenor sax solo at 2:56 and all the way until 3:28 was just pure beauty! It literally gave me many tears rolling down my face. I really wanna do this piece right now but i don't think my director would because the band im currently in is called concert band and its sheet music level is based on grade 3-3.5 level music but if i audition for my high school wind symphony i badly wanna do this piece, because this piece has been my favorite of yours, but i think this is my #1 favorite piece by you. #2 and 3 are lightning field and until the scars. i've done lightning field for my 9th grade which was fun as heck!!! anways john mackey you're amazing because your music got me into loving band!!
Those glissandos in the trombone part are amazing
could I ask what exactly????? these lyrics are trying to portray???????
Nice! I'm very interested in old computers, I make music with the Amiga! Also, I'm doing Foundry and some of your other songs for my wind ensemble concert soon and they're very fun but challenging :)
Hehe
The devastating release at 5:03 after building for so long… ughhh it hurts so good
We played this in symphonic band and it was so good
yet another beautiful piece by john mackey
i'm playing this rn and i can't get the growls right
We’re playing this in our 8th grade Halloween concert and I think this piece of music is really good. I imagine monsters coming out of the ground and stuff and then they all come together like all the instruments coming together in parts of the song then they start to disappear. It’s really unique.
My band place 1st at KMEA with this peice and I cried at every bit especially at the reason this peice was created
Superb, Mr. Mackey! All your works at first appear conventionally classical and then there's that surprising twist, that flash of something new and undiscovered. So well done!