Steven Mackey had the kind of 2011 composers dream about. In May, violinist Leila Josefowicz and the Los Angeles Philharmonic conducted by Gustavo Dudamel gave the West coast premiere of Mackey's Beautiful Passing.Two weeks later, Mackey strapped on his electric guitar and joined violinist Jennifer Koh and the Los Angeles Philharmonic New Music Group conducted by John Adams for the premiere of his Four Iconoclastic Episodes. September saw the world premiere of Mackey's Stumble to Grace, a piano concerto written for Orli Shaham and performed by Shaham and the St. Louis Symphony conducted by David Robertson.
Mackey's year was capped in December by four Grammy nominations for the recording of his composition Lonely Motel. "It's the only time in my life that my professional life will intersect with Bon Iver not to mention Lady Gaga," said Mackey.
Prior to the Grammy nominations I had an opportunity to chat with Mackey.
Craig
Zeicher: You’ve had the world premiere of Stumble to Grace and the West
coast premieres of Beautiful Passing and Four Iconoclastic Episodes. You also have new recordings of It Is Time and Lonely Motel. How
has it been dealing with all this?
Steven Mackey:
The
past few months with the premieres and the CD releases has been the easy part.
The challenging part is the time in the kitchen trying to bring all those
dishes to the table at the right temperature. I am not naturally a multi-tasker
yet I find myself with a career made of diverse components including composing,
performing, improvising, conducting, teaching, and being heavily involved in
the recording, editing and mixing of my recordings.
A
70-minute collaborative work like Lonely Motel progresses in phases over many
years and therefore overlaps with more compact projects like, Beautiful Passing, Stumble to Grace or It Is
Time. Since I have a one-track mind and can’t work on two things at once, I
plan out my composition schedule for the year in order to devote myself
intensely to one composition project at a time for a number of weeks or months.
If I spend the morning composing it is hard to switch to practicing my guitar
part in works like Four Iconoclastic
Episodes, so I try to bunch my performing gigs together so that I am only a
practicing guitarist for a certain number of months per year and during those
months I practice early in the day before I have a chance to be obsessed with
whatever I am composing.
CZ: I read in an interview where you said your experience as a guitarist influences all your music. It seems like a mix of practical musical experience wed to something that's almost a part of your physical being.
SM:
The guitar is a very physical instrument and I can’t, nor do I want to, divorce
myself from the kind of physical responses it engenders. Obviously rhythm,
syncopation and groove are aspects of guitar playing that make a long lasting
physical imprint. Just as vivid for me is the feel of playing inside the harmony versus playing outside the
harmony or escaping harmony altogether with noise and feedback. Where one might
catch a pianist/composer fingering an imaginary keyboard in order to wrestle an
idea onto the page, I play air guitar. This not only has ramifications for the
kinds of intervals and rhythms that I gravitate toward, but the ideas associate
with a feel indigenous to the guitar
which in turn suggests other aspects of the music as well.
My
language evolves from a stew with equal parts of that physical understanding
absorbed from playing the guitar and my understanding of tonal and atonal music
picked up from 35 years of study and teaching. I hasten to add that those
worlds are not distinct but blurred and overlapped, more so with every passing
year. I hear Beethoven through the ears of Jimi Hendrix and when I imagine
pitch class sets in Ligeti I visualize how they lay out on the guitar
fingerboard.
My
sense of orchestration is particularly influenced by the sound of the electric
guitar even when I am composing a work that has no guitars in sight. The sound
of a searing solo, clangorous harmonics, distortion and thoughts about signal
to noise ratio are all orchestration concerns that I have consciously imported
from the electric guitar.
CZ: I've been enjoying the new recordings of your music. Lonely Motel really bends genres and styles. How was it taking on the role of guitarist and narrator?
SM:
I really enjoyed being the narrator. The let’s face it, the electric guitar was
designed to be played while singing or bantering. I’m not much of a singer or
banterer so this was my only chance to have a live vocal mic!
CZ:
Rinde Eckert is amazing on the album too, how is that collaboration?
SM:
It has happened a couple of times recently that people have heard Lonely Motel and asked “How many singers
are on this record?” or “How did you get a countertenor to sing those rhythms?”
Their jaws drop when I tell them that the bell canto tenor, the rock belter,
and the angelic countertenor are all one singer – Rinde Eckert. And by the way,
he also plays baritone horn on the record and wrote all the lyrics.
Rinde
and I have been collaborating for 15 years. Together we have written an opera (Ravenshead), an oratorio (Dreamhouse), we have a prog-rock band
(Big Farm) and now there is Lonely Motel. We have worked together in so many different ways in our
various projects. Occasionally he presents me with a poem that I set to music,
which is the traditional classical model. But just as often I will write some
music on an agreed upon theme and he will write lyrics to the given melody.
Sometimes we will bring some musical and textual sketches together and
improvise and see if we can build something together. Apart from the fact that
Rinde is a terrific writer and librettist, there is something special about
having your vocal soloist sing his own words.
CZ: It is Time really puts SO Percussion in the spotlight. How was
it writing a virtuoso piece x 4?
SM:
Most of the percussion ensemble literature focuses on the group paying tight
unison or interlocking rhythms. The excitement comes from the ensemble
virtuosity and chemistry but the individuals are often lost. I wanted to write
something for SO in which they would each have a section of about 10 minutes of
music that they would lead as a soloist. We sat down over BBQ and I asked them
each what instrument they wanted to be featured on and it worked out perfectly
that Eric Beach leads off on a crazy multi-percussion set with a pump organ,
mounted china cymbal, musical saw and a bunch of toys that we designed
together. Josh Quillen follows with steel drums, Adam Sliwinski on marimba and
Jason Trueting brings it homes on the drum set.
With
their encouragement, I really just let my imagination go and left no fantasy
unexplored, and they much to my amazement rose to every challenge brilliantly.
One small example is that I kept hearing a melody played on musical saw. Eric
learned how to play the saw from scratch, which is no easy feat. At the first
rehearsal I thought I had made a horrible mistake but by the time of the
recording he was a master.
SO becomes a kind of quirky band with drums, where the marimba is primarily responsible for the bass, the steel drums sing the melody, and the multi set-up plays a variety of roles.
SM: I'm dotting the I's and crossing the T's in a piece for the Chamber Orchestra of Philadelphia and I just started a collaboration with Mark DeChiazza (the filmmaker who did the video for It Is Time) on a piece for the Soli Ensemble in San Antonio.
--Craig Zeichner
The only problem writing this piece for SO is that it demands such a high level of virtuosity of such specific skills that SO is the only group that can play this piece for the foreseeable future.
CZ: What are you working on now?
SM: I'm dotting the I's and crossing the T's in a piece for the Chamber Orchestra of Philadelphia and I just started a collaboration with Mark DeChiazza (the filmmaker who did the video for It Is Time) on a piece for the Soli Ensemble in San Antonio.
CZ: Favorite guitarists?
SM: Jimi Hendrix, Jimmy Page, Duane Allman, Bill Frisell, George Harrison, Pat Metheny, Leo Kottke, Julian Bream ... to name a few.
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