PRANK ©2025
A Music Novella set to the music of GUSTAV MAHLER by Alex Sino and Terry Heimat
From the creators of GRAMMY ® and International Award Winning projects:
| ALMA LIBRE | DOMUS SOLIS | THE HOUSE OF DREAMS | MADE IN MIAMI | GLOBAL OASIS VOL. 1 |
| PRANK | PRICE | JUST a DAY | MAGIC SONG | STAY | ODE TO JOY | I'LL STAY WITH YOU |
| DING-DONG JESTER | GLORY | NIMOZO | BELIEVE | THE POWER OF NATURE | THE LAST ROMANCE |
| THE PATTERNS ON THE STONES | LYZISTRATA | THE STARTING POINT | THE GATE OF ALL WONDERS
| FREEZE | CLOUDWARD | MY ENDLESS LOVE | NOT LIKE THIS |
REFERENCE:
PRANK - What does the word "Prank" mean? A joke? A rehearsal of a piece of music? Or is a "prank" a draw in a difficult life situation?
“The spirit of Mahler” in an empty hall. But why are they so carefree? In the inner sanctum of the orchestra, the rehearsal room, music stands and sheet music are scattered carelessly, everything is in chaos. Thank God the violins are lying carefully and neatly arranged, the cellos are propped up against the walls, hmm... someone's hat is on the tuba, the trombones are on their stands. There are scarves on the chairs, ladies' concert shoes covered in dust are lying around. Sheet music is scattered everywhere. Violin cases. Chaos.
The beginning of the film story PRANK
Genre:
The plot of “The Hoax” is an intellectual (but not boring) detective drama, a kind of “orchestra rehearsal” with scenes of work on Gustav Mahler's First Symphony “Titan,” musical anecdotes, music history, phantasmagoria presented in the “dreams” of the main characters, and an unpredictable ending. The events of the film keep viewers in suspense until the very last minute, waiting for the dénouement. The chapters of the script and events alternate according to classical musical canons—from the overture, development, and intrigue to the finale. The radio play features works by Gustav Mahler and original compositions by Terry Heimatt based on poems by Alex Sino.
The plot of “The Hoax” is an intellectual (but not boring) detective drama, a kind of “orchestra rehearsal” with scenes of work on Gustav Mahler's First Symphony “Titan,” musical anecdotes, music history, phantasmagoria presented in the “dreams” of the main characters, and an unpredictable ending. The events of the film keep viewers in suspense until the very last minute, waiting for the dénouement. The chapters of the script and events alternate according to classical musical canons—from the overture, development, and intrigue to the finale. The radio play features works by Gustav Mahler and original compositions by Terry Heimatt based on poems by Alex Sino.
D: Semyon Grigorievich, will we be able to perform the work of your great namesake today?
SG: Of course! It's probably my fault that musicians have to exchange news, have snacks, smoke, and do other things here, right here in the studio, and not at home, where they can do all this for free? And note that if my father had had enough money not only to change my name, but also to remove the letter “x” from my surname, which is unpronounceable in the civilized world, my surname would be pronounced ‘Mahler’ in Russian, not “Mahler,” and I could now be sitting with my violin in the front row of the orchestra to the left of the conductor, instead of babysitting these scatterbrained people with musical instruments and conservatory diplomas.
SG: Of course! It's probably my fault that musicians have to exchange news, have snacks, smoke, and do other things here, right here in the studio, and not at home, where they can do all this for free? And note that if my father had had enough money not only to change my name, but also to remove the letter “x” from my surname, which is unpronounceable in the civilized world, my surname would be pronounced ‘Mahler’ in Russian, not “Mahler,” and I could now be sitting with my violin in the front row of the orchestra to the left of the conductor, instead of babysitting these scatterbrained people with musical instruments and conservatory diplomas.
Maestro and Semyon Grigorievich - orchestra administrator.
The events occur in a large European city without reference to a specific country. For many years, the city has had a symphony orchestra conducted by a famous conductor, Maestro. In recent years, Maestro has faced financial problems in maintaining the orchestra, which city patrons led by the Founder fund. The Maestro has worked with an experienced administrator, Semyon Grigorievich Makhler, for many years. He is indispensable to the Maestro in resolving conflicts with the musicians and the orchestra's financial management.
To save the orchestra's reputation, the Maestro takes a risky step and introduces Gustav Mahler's First Symphony, “Titan,” into the orchestra's repertoire. This confuses the orchestra's Founder and causes indifference among the musicians. The musicians do not accept his interpretation of the Titan symphony, especially the central part of the symphony, “The Hunter's Funeral,” with its primitive beginning and dashing funeral march in the development. In scenes from the everyday life of the orchestra members living in a dormitory, sometimes anecdotal, it is often discussed that playing The Hunter's Funeral is a bad omen. Mahler himself defined the mood of this part as “... a gloomy, ironic, oppressive melancholy of a funeral march.” In addition, the idea of animals mourning their dead tyrant does not elicit sympathy from the orchestra members.
Fearing that the musicians' misunderstanding and rejection of the work could lead to the orchestra's collapse, the Founder informs the administrator of his decision to invite a young conductor-intern to join the orchestra. The Young Conductor advocates for the popularization of the repertoire and suggests working with the musicians on The Hunter's Funeral. The Maestro decides not to interfere with the young talent and leaves to rest at a mountain resort, having previously invited the Young Conductor to visit him after rehearsals to discuss the interpretation of the symphony.
A few days after the Maestro's departure, the police contact the orchestra administrator. It turns out that an avalanche has occurred at the mountain resort where the Maestro and the Young Director met. According to the police, one of the vacationers died under the snow. The police are trying to find out which of the guests died. The administrator attempts to contact the conductors, but their phones are silent. Rumors of the Maestro's possible death instantly spread throughout the orchestra. For some reason, the musicians do not doubt that the Maestro died.
Fearing that the musicians' misunderstanding and rejection of the work could lead to the orchestra's collapse, the Founder informs the administrator of his decision to invite a young conductor-intern to join the orchestra. The Young Conductor advocates for the popularization of the repertoire and suggests working with the musicians on The Hunter's Funeral. The Maestro decides not to interfere with the young talent and leaves to rest at a mountain resort, having previously invited the Young Conductor to visit him after rehearsals to discuss the interpretation of the symphony.
A few days after the Maestro's departure, the police contact the orchestra administrator. It turns out that an avalanche has occurred at the mountain resort where the Maestro and the Young Director met. According to the police, one of the vacationers died under the snow. The police are trying to find out which of the guests died. The administrator attempts to contact the conductors, but their phones are silent. Rumors of the Maestro's possible death instantly spread throughout the orchestra. For some reason, the musicians do not doubt that the Maestro died.
The conductors agreed that one of them would not attend the dress rehearsal, and the orchestra would rehearse with one conductor. Still, the other conductor, who had supposedly died at the resort, would miraculously appear at the concert. In this way, the orchestra would truly experience the “funeral of the hunter-conductor” and play with emotional intensity, just as the conductors had intended.
To the amazement of the musicians and the administrator, it was not the Young Conductor who came to the dress rehearsal, but the Maestro. Surprised and overwhelmed, the musicians played not the notes of the symphony for the first time, but a tragedy in which Mahler's terrible childhood in a large family, his loneliness in his own home, his fear of the vulgar street, his problems in family life, arguments with his wife, and her frequent infidelities, which humiliated Mahler.
The maestro was satisfied with the rehearsal but worried the performance might drag on. The administrator said that he had agreed with the Young Conductor and the Founder that he would leave a seat free next to the Founder and other essential guests in the middle of the first row at the concert.
The maestro will begin the concert. Under the impression of recent events, the performance of “Titan” and especially “The Hunter's Funeral” should be as tragic and voluminous as it was at the rehearsal. At the end of the first part of the symphony, as if late, the Young Conductor will make his way to the empty seat. The audience will see him, but the orchestra will not. When Titan is played and the lights come on, the orchestra members will discover the Young Conductor. In this way, everyone will learn their lesson.
On the concert day, everything goes according to the administrator's plan. The orchestra plays brilliantly. The symphony is performed. The maestro turns to the hall and sees an empty seat in the front row... The Young Conductor has not come...
The maestro covers his eyes with his hand and returns to the events in the snow-covered resort, to his conversation with the Young Conductor about Mahler's music. They talk about how the music in Titan and The Hunter's Funeral is eternal, how mourning for tyrants repeats itself, and how “beasts” never learn anything. Or are afraid to learn...
The ideal state of life Mahler strove for is hindered by struggle and vanity. But life, says the Maestro, cannot be known without suffering and death. Mahler had complex feelings about life, death, music, and family—he simultaneously loved, feared, hated, and felt guilty.
If Immortality is the music, but who would know what life is? - asks the Maestro of the Young Conductor.
One can only assume that life is a prank.
To save the orchestra's reputation, the Maestro takes a risky step and introduces Gustav Mahler's First Symphony, “Titan,” into the orchestra's repertoire. This confuses the orchestra's Founder and causes indifference among the musicians. The musicians do not accept his interpretation of the Titan symphony, especially the central part of the symphony, “The Hunter's Funeral,” with its primitive beginning and dashing funeral march in the development. In scenes from the everyday life of the orchestra members living in a dormitory, sometimes anecdotal, it is often discussed that playing The Hunter's Funeral is a bad omen. Mahler himself defined the mood of this part as “... a gloomy, ironic, oppressive melancholy of a funeral march.” In addition, the idea of animals mourning their dead tyrant does not elicit sympathy from the orchestra members.
Fearing that the musicians' misunderstanding and rejection of the work could lead to the orchestra's collapse, the Founder informs the administrator of his decision to invite a young conductor-intern to join the orchestra. The Young Conductor advocates for the popularization of the repertoire and suggests working with the musicians on The Hunter's Funeral. The Maestro decides not to interfere with the young talent and leaves to rest at a mountain resort, having previously invited the Young Conductor to visit him after rehearsals to discuss the interpretation of the symphony.
A few days after the Maestro's departure, the police contact the orchestra administrator. It turns out that an avalanche has occurred at the mountain resort where the Maestro and the Young Director met. According to the police, one of the vacationers died under the snow. The police are trying to find out which of the guests died. The administrator attempts to contact the conductors, but their phones are silent. Rumors of the Maestro's possible death instantly spread throughout the orchestra. For some reason, the musicians do not doubt that the Maestro died.
Fearing that the musicians' misunderstanding and rejection of the work could lead to the orchestra's collapse, the Founder informs the administrator of his decision to invite a young conductor-intern to join the orchestra. The Young Conductor advocates for the popularization of the repertoire and suggests working with the musicians on The Hunter's Funeral. The Maestro decides not to interfere with the young talent and leaves to rest at a mountain resort, having previously invited the Young Conductor to visit him after rehearsals to discuss the interpretation of the symphony.
A few days after the Maestro's departure, the police contact the orchestra administrator. It turns out that an avalanche has occurred at the mountain resort where the Maestro and the Young Director met. According to the police, one of the vacationers died under the snow. The police are trying to find out which of the guests died. The administrator attempts to contact the conductors, but their phones are silent. Rumors of the Maestro's possible death instantly spread throughout the orchestra. For some reason, the musicians do not doubt that the Maestro died.
The conductors agreed that one of them would not attend the dress rehearsal, and the orchestra would rehearse with one conductor. Still, the other conductor, who had supposedly died at the resort, would miraculously appear at the concert. In this way, the orchestra would truly experience the “funeral of the hunter-conductor” and play with emotional intensity, just as the conductors had intended.
To the amazement of the musicians and the administrator, it was not the Young Conductor who came to the dress rehearsal, but the Maestro. Surprised and overwhelmed, the musicians played not the notes of the symphony for the first time, but a tragedy in which Mahler's terrible childhood in a large family, his loneliness in his own home, his fear of the vulgar street, his problems in family life, arguments with his wife, and her frequent infidelities, which humiliated Mahler.
The maestro was satisfied with the rehearsal but worried the performance might drag on. The administrator said that he had agreed with the Young Conductor and the Founder that he would leave a seat free next to the Founder and other essential guests in the middle of the first row at the concert.
The maestro will begin the concert. Under the impression of recent events, the performance of “Titan” and especially “The Hunter's Funeral” should be as tragic and voluminous as it was at the rehearsal. At the end of the first part of the symphony, as if late, the Young Conductor will make his way to the empty seat. The audience will see him, but the orchestra will not. When Titan is played and the lights come on, the orchestra members will discover the Young Conductor. In this way, everyone will learn their lesson.
On the concert day, everything goes according to the administrator's plan. The orchestra plays brilliantly. The symphony is performed. The maestro turns to the hall and sees an empty seat in the front row... The Young Conductor has not come...
The maestro covers his eyes with his hand and returns to the events in the snow-covered resort, to his conversation with the Young Conductor about Mahler's music. They talk about how the music in Titan and The Hunter's Funeral is eternal, how mourning for tyrants repeats itself, and how “beasts” never learn anything. Or are afraid to learn...
The ideal state of life Mahler strove for is hindered by struggle and vanity. But life, says the Maestro, cannot be known without suffering and death. Mahler had complex feelings about life, death, music, and family—he simultaneously loved, feared, hated, and felt guilty.
If Immortality is the music, but who would know what life is? - asks the Maestro of the Young Conductor.
One can only assume that life is a prank.
PRANK
by Alex Sino and Terry Heimat.
SYNOPSIS:
AUTHORS:
professionals in history, music theory, and musical performance:
professionals in history, music theory, and musical performance:
- Winner of the Global Music Awards, conservatory professor, multi-instrumentalist, composer, conductor, and writer.
- Two-time Grammy Award winner, music producer, and writer.
INTERVIEW
Dialogue on the Soul, Gustav Mahler, and Music
Alex Sino: The play "Prank" is an intellectual detective story with a musical soul, where scenes unfold in a chaotic and mysterious orchestral rehearsal room. It's a kind of "Orchestral Rehearsal" of Fellini, but in today's context. Against the backdrop of Mahler's First Symphony, particularly its "provocative part" — The Hunter's Funeral — original compositions by Haimat and poems by Sino play. It's not just drama — it's a musical phantasmagoria, where each episode is structured according to the canons of a classical symphony: from overture to finale. The plot keeps the audience on the edge of their seats until the last moment, and the "spirit of Mahler" hovers over the characters, immersed in their dreams and mysteries.
Alex Sino: The play "Prank" is an intellectual detective story with a musical soul, where scenes unfold in a chaotic and mysterious orchestral rehearsal room. It's a kind of "Orchestral Rehearsal" of Fellini, but in today's context. Against the backdrop of Mahler's First Symphony, particularly its "provocative part" — The Hunter's Funeral — original compositions by Haimat and poems by Sino play. It's not just drama — it's a musical phantasmagoria, where each episode is structured according to the canons of a classical symphony: from overture to finale. The plot keeps the audience on the edge of their seats until the last moment, and the "spirit of Mahler" hovers over the characters, immersed in their dreams and mysteries.
Terry Heimat: Mahler understood early that to succeed in the heart of Europe’s largest empire, merely having talent was not enough. You also needed power. Without absolute control over everything that the opera performance depended on, achieving perfection in Vienna, regarding what Wagner envisioned — a union of all arts in Gesamtkunstwerk — was impossible...
Mahler's music reminds me of Einstein's theory. Time in music compresses or accelerates depending on the mood. Despite his despotism, Mahler did not dictate the tempo in the performance of his works. As the character of "Prank," Odessa native Semyon Grigoryevich, said, you won't find music in the notes. You need to feel it.
Mahler's music reminds me of Einstein's theory. Time in music compresses or accelerates depending on the mood. Despite his despotism, Mahler did not dictate the tempo in the performance of his works. As the character of "Prank," Odessa native Semyon Grigoryevich, said, you won't find music in the notes. You need to feel it.
