John Mackey (b. 1973) once famously compared the band and the orchestra to the kind of person a composer might be attracted to at a party. The orchestra seems ideal for you, but clearly feels superior and talks a lot about a whole slew of exes (like Dvorak and Beethoven). The band, meanwhile, is loud and brash, but loves everything you do and can’t wait to play your stuff, the newer, the better! (I’ve rather poorly paraphrased Mackey – it’s best understood in his original blog post on the subject).

With this attitude and his prodigious talent, John Mackey has become a superstar composer among band directors. He has even eclipsed his former teacher, John Corigliano, by putting out dozens of new band works, including a symphony, since 2005. All are challenging, and many are innovative. Mackey’s works for wind ensemble and orchestra have been performed around the world, and have won numerous composition prizes. His Redline Tango, originally for orchestra and then transcribed by the composer for band, won him the American Bandmasters Assocation/Ostwald Award in 2005, making him, then 32, the youngest composer ever to receive that prize. He won again in 2009 with Aurora Awakes – more to come on that. More recently, he was honored by the American Academy of Arts and Letters with the 2018 Wladimir and Rhoda Lakond Award in Music. His compositional style is fresh and original. I once heard him state that he counted the band Tool among his musical influences.

John Mackey publishes his own music through his website, which doubles as his blog, which is very informative for anyone looking for a composer’s perspective on new music (and pictures of food). He is featured on Wikipedia and the Wind Repertory Project. He is also on Twitter and has a Facebook composer page.

Mackey wrote Aurora Awakes in 2009 on a commission from the Stuart High School Wind Ensemble and their director, Doug Martin.  It soon received great acclaim, in the form of both the ABA/Ostwald Award and the National Band Association Revelli Award for composition in the same year, a rare honor for a new band work. Jake Wallace provides the official program notes:

Aurora now had left her saffron bed,
And beams of early light the heav’ns o’erspread,
When, from a tow’r, the queen, with wakeful eyes,
Saw day point upward from the rosy skies.
– Virgil, The Aeneid, Book IV, Lines 584-587

Aurora – the Roman goddess of the dawn – is a mythological figure frequently associated with beauty and light. Also known as Eos (her Greek analogue), Aurora would rise each morning and stream across the sky, heralding the coming of her brother Sol, the sun. Though she is herself among the lesser deities of Roman and Greek mythologies, her cultural influence has persevered, most notably in the naming of the vibrant flashes of light that occur in Arctic and Antarctic regions – the Aurora Borealis and Aurora Australis.

John Mackey’s Aurora Awakes is, thus, a piece about the heralding of the coming of light. Built in two substantial sections, the piece moves over the course of eleven minutes from a place of remarkable stillness to an unbridled explosion of energy – from darkness to light, placid grey to startling rainbows of color. The work is almost entirely in the key of E-flat major (a choice made to create a unique effect at the work’s conclusion, as mentioned below), although it journeys through G-flat and F as the work progresses. Despite the harmonic shifts, however, the piece always maintains a – pun intended – bright optimism.

Though Mackey is known to use stylistic imitation, it is less common for him to utilize outright quotation. As such, the presence of two more-or-less direct quotations of other musical compositions is particularly noteworthy in Aurora Awakes. The first, which appears at the beginning of the second section, is an ostinato based on the familiar guitar introduction to U2’s “Where The Streets Have No Name.” Though the strains of The Edge’s guitar have been metamorphosed into the insistent repetitions of keyboard percussion, the aesthetic is similar – a distant proclamation that grows steadily in fervor. The difference between U2’s presentation and Mackey’s, however, is that the guitar riff disappears for the majority of the song, while in Aurora Awakes, the motive persists for nearly the entirety of the remainder of the piece:

“When I heard that song on the radio last winter, I thought it was kind of a shame that he only uses that little motive almost as a throwaway bookend. That’s my favorite part of the song, so why not try to write an entire piece that uses that little hint of minimalism as its basis?”

The other quotation is a sly reference to Gustav Holst’s First Suite in E-flat for Military Band. The brilliant E-flat chord that closes the Chaconne of that work is orchestrated (nearly) identically as the final sonority of Aurora Awakes – producing an unmistakably vibrant timbre that won’t be missed by aficionados of the repertoire. This same effect was, somewhat ironically, suggested by Mackey for the ending of composer Jonathan Newman’s My Hands Are a City. Mackey adds an even brighter element, however, by including instruments not in Holst’s original:

“That has always been one of my favorite chords because it’s just so damn bright. In a piece that’s about the awaking of the goddess of dawn, you need a damn bright ending — and there was no topping Holst. Well… except to add crotales.”

You can look at the score at Mackey’s website. You can also read about the piece at the Wind Repertory Project. Mackey also talks in some detail about the piece on his very candid blog, about the recording and winning the awards, as well as the program notes and the premiere.

Hear Aurora Awakes via YouTube here (it’s the same recording as above):

Here is U2’s “Where the Streets Have No Name”, which Mackey quotes in the final section of Aurora Awakes. This video documents an iconic live performance that was nearly shut down.

Finally, here is Holst’s “Chaconne” from the First Suite, whose last chord Mackey borrows: