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 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. This 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.

This Cruel Moon (2017) is an adaptation for younger bands of “Immortal thread, so weak,” the second movement of Mackey’s Wine-Dark Sea: Symphony for Band. It was, in a sense, crowd-funded: Mackey put out a call on his personal Facebook page anyone interested in such a work, and within hours had amassed a consortium of 47 members. He provides the following program notes on his website (to which I have added some links):

The full symphony tells the tale of Odysseus and his journey home following his victory in the Trojan War. But Odysseus’ journey [which was recounted in Homer’s epic Odyssey] would take as long as the war itself. Homer called the ocean on which Odysseus sailed a wine-dark sea, and for the Greek king it was as murky and disorienting as its name; he would not find his way across it without first losing himself.

“This Cruel Moon” is the song of the beautiful and immortal nymph Kalypso, who finds Odysseus near death, washed up on the shore of the island where she lives all alone. She nurses him back to health, and sings as she moves back and forth with a golden shuttle at her loom. Odysseus shares her bed; seven years pass. The tapestry she began when she nursed him becomes a record of their love.

But one day Odysseus remembers his home. He tells Kalypso he wants to leave her, to return to his wife and son. He scoffs at all she has given him. Kalypso is heartbroken.

And yet, that night, Kalypso again paces at her loom. She unravels her tapestry and weaves it into a sail for Odysseus. In the morning, she shows Odysseus a raft, equipped with the sail she has made and stocked with bread and wine, and calls up a gentle and steady wind to carry him home. Shattered, she watches him go; he does not look back.

Read more at Mackey’s website.

Here it is, with a score preview, performed by the University of Texas Wind Ensemble:

And here is the symphony’s original second movement:

One more piece of essential listening: Mackey’s “At Sea” from Songs at the End of the World, which uses the same melody, adding lyrics: