John Mackey (b. 1973) once famously compared the band and the orchestra to the kind of girl a composer might meet at a party. The orchestra seems like she ought to be your ideal woman, but she clearly feels superior to you and talks a lot about her 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 more than a dozen new band works, including a symphony, since 2005. All are challenging, and all 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 recieve that prize. He won again in 2009 with Aurora Awakes. 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 Osti Music. The website for this company doubles as his personal website and his blog, which is very informative for anyone looking for a composer’s perspective on new music. He is featured on wikipedia and the Wind Repertory Project. He is also on Twitter 20 or so times a day. And he has a Facebook composer page.
Mackey wrote The Frozen Cathedral in 2012. Jake Wallace provides the official program notes:
The Koyukon call it “Denali,” meaning “the great one,” and it is great. It stands at more than twenty thousand feet above sea level, a towering mass over the Alaskan wilderness. Measured from its base to its peak, it is the tallest mountain on land in the world—a full two thousand feet taller than Mount Everest. It is Mount McKinley, and it is an awesome spectacle. And it is the inspiration behind John Mackey’s The Frozen Cathedral.
The piece was born of the collaboration between Mackey and John Locke, Director of Bands at the University of North Carolina at Greensboro. Locke asked Mackey if he would dedicate the piece to the memory of his late son, J.P., who had a particular fascination with Alaska and the scenery of Denali National Park. Mackey agreed—and immediately found himself grappling with two problems.
How does one write a concert closer, making it joyous and exciting and celebratory, while also acknowledging, at least to myself, that this piece is rooted in unimaginable loss: The death of a child?
The other challenge was connecting the piece to Alaska – a place I’d never seen in person. I kept thinking about all of this in literal terms, and I just wasn’t getting anywhere. My wife, who titles all of my pieces, said I should focus on what it is that draws people to these places. People go to the mountains—these monumental, remote, ethereal and awesome parts of the world—as a kind of pilgrimage. It’s a search for the sublime, for transcendence. A great mountain is like a church. “Call it The Frozen Cathedral,” she said.
I clearly married up.
The most immediately distinct aural feature of the work is the quality (and geographic location) of intriguing instrumental colors. The stark, glacial opening is colored almost exclusively by a crystalline twinkling of metallic percussion that surrounds the audience. Although the percussion orchestration carries a number of traditional sounds, there are a host of unconventional timbres as well, such as crystal glasses, crotales on timpani, tam-tam resonated with superball mallets, and the waterphone, an instrument used by Mackey to great effect on his earlier work Turning. The initial sonic environment is an icy and alien one, a cold and distant landscape whose mystery is only heightened by a longing, modal solo for bass flute—made dissonant by a contrasting key, and more insistent by the eventual addition of alto flute, English horn, and bassoon. This collection expands to encompass more of the winds, slowly and surely, with their chorale building in intensity and rage. Just as it seems their wailing despair can drive no further, however, it shatters like glass, dissipating once again into the timbres of the introductory percussion.
The second half of the piece begins in a manner that sounds remarkably similar to the first. In reality, it has been transposed into a new key and this time, when the bass flute takes up the long solo again, it resonates with far more compatible consonance. The only momentary clash is a Lydian influence in the melody, which brings a brightness to the tune that will remain until the end. Now, instead of anger and bitter conflict, the melody projects an aura of warmth, nostalgia, and even joy. This bright spirit pervades the ensemble, and the twinkling colors of the metallic percussion inspire a similar percolation through the upper woodwinds as the remaining winds and brass present various fragmented motives based on the bass flute’s melody. This new chorale, led in particular by the trombones, is a statement of catharsis, at once banishing the earlier darkness in a moment of spiritual transcendence and celebrating the grandeur of the surroundings. A triumphant conclusion in E-flat major is made all the more jubilant by the ecstatic clattering of the antiphonal percussion, which ring into the silence like voices across the ice.
One feature that Wallace does not highlight but that is especially important to the overall impression of the piece is Mackey’s use of bimodal chords (both major and minor at the same time) and unprepared half step dissonances throughout the bigger sections of the work. These add a shocking element to the grandeur and catharsis that Mackey portrays. Also, Mackey added an organ part to the piece in 2013. I was lucky enough to be in rehearsals and in the hall for the performance of this version with Arizona State University Wind Orchestra conducted by the amazing Gary Hill on March 4, 2014.
You can look at the score and hear a recording of the piece 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.
Those too lazy to click a link can hear The Frozen Cathedral via YouTube here (it’s the same recording as above, without organ):