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Sacred Words In Dead Languages Catherine Wong, B-flat clarinet Sacred Words In Dead Languages is dedicated with gratitude to these performers and to guitarist Tristan Panniers (now residing in Japan) and trumpeter Brody Gusar (now in Florida). I made the acquaintance of Cat, Devin, Iain, Doug, Tristan and Brody a few years ago, when they were near the beginning of their conservatory studies at The Peabody. They invited me to join their table in the cafeteria one day. Half-jokingly, perhaps, first one and then another asked me to compose something until they were all asking for new pieces. I noted a remarkable camaraderie among the group in spite of deep differences in world view, and decided it might be interesting to write a stochastic piece, a work that would focus on the group dynamic by giving them figures to play but letting them decide, in performance, when to enter, how many times to repeat a figure and so on. Recorded live during the third After Now concert.Red Room, Baltimore, MD, March 8, 2008. ©2008 Mark A. Lackey
Ritual Dance for Piano and Three People This idea came to me when I was studying with Bruno Amato at The Peabody Conservatory. I took him my sketches and pre-compositional diagrams and talked excitedly for what must have been half an hour. He shrugged, smiled, and said, "It's not bad. For a theatre piece." People: Tugce Tari, Janet Kao, Stephanie Kai-Win Ho
The creation of this orchestral work was guided by a very simple abstraction: the confluence of two very different beings, one exquisite, the other ardent, with each one by turns elevated and ennobled, tempered, vivified by the other.
Measure 36, giocoso: Blugue A fugue begins with a short tune played by just one player (or one voice of a polyphonic instrument such as the organ), then proceeds almost like a game. The other players take turns beginning the tune higher or lower, while the previous players play something to go with it. In a book about writing fugues, I ran across the rule that "a fugue must be on either a major or minor scale." Annoyed by this arbitrary pronouncement, I set out to write a fugue on the blues scale. So here you have it: a blue fugue. A Blugue.
Excerpt from Blugue (633 k)
Stravinsky-Lackey "Dances of the Young Girls" from Rite of Spring I finally gave in to the impulse I had many years ago when I first heard Rite of Spring: to re-imagine Stravinsky as a rocker. To create this recording, I studied the original orchestration extensively and then mapped out this arrangement, faithfully transferring every note of the original to a line-up of drumkit, fretless electric basses, electric and acoustic guitars, keyboards, and electronics. Over the course of a few months I performed and recorded the project in my little home studio. If you like rock or Stravinsky, I think you'll want to hear this. There's a very brief excerpt here, and a link to the entire four-minute mp3 below.
Excerpt from Rite of Spring (193 k) "If It Don't Kill You" This is a new recording by jaKe, featuring co-writers Stanley Jake Haught and Marcus Jake Lackey. Vocals, guitar, dulcimer and other instruments and noises on this here partick-lar recordin' made by Marcus Jake Lackey.
Excerpt from "If It Don't Kill You" (193 k) "There Is A Place" Despite speculation that Julian Date's "There Is A Place" was inspired by the rugged beauty of Alaska, Mark wrote the song prior to his first move to Alaska. A friend took this video of a 1995 performance by JULIAN DATE at The Cannery in Nashville, Tennessee. Drumkit was played by Rodney Wright, electric bass guitar was played by Scott Nelson, and electric guitar was played by Brian Paris. Guitars, synthesizers, and lead vocals were performed by Julian Date. The part of Julian Date was played by Mark A. Lackey. This video is presented here for possible historical - or hysterical - interest. Click on the Google Video button to see more.
"I Believe" (3.3 MB m4a) "There Is A Place" (10.4 MB m4a) "Permanent Crush" (8.3 MB m4a) "Dog" (11.7 MB m4a) "Welcome Home" (6.1 MB m4a) "Last Night We Spoke In A Dream" (9.8 MB m4a)
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Thanks for listening! MARKLACKEY (at) MARKLACKEY.NET
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