James Macmillan Livres

(Boosey & Hawkes Chamber Music). A major addition to the concertante trombone repertory, this single-movement work lasting 30 minutes was premiered in 2017 by Jorgenvan Rijen and the Royal Concertgebouw Orchestra, conducted by Ivan Fischer. Press reviews were "...this magnificent concerto enriches the repertoire...The trombone sang, sang, sang...then suddenly a spectacular mating dance of four trombones a la Stockhausen. At the very end van Rijen and MacMillan struck me down between the serene harmonies which came to a moment of rest, the trombone once more entered with a heart-breaking eruption...the wonderful beauty of despair...It is a concerto for eternity, and trombone players could use one." - De Trouw.

(Boosey & Hawkes Chamber Music). MacMillan's first percussion concerto Veni, Veni, Emmanuel was premiered to immediate acclaim by Evelyn Glennie and the Scottish Chamber Orchestra, conducted by Jukka-Pekka Saraste, at the BBC Proms in 1992. It swiftly established itself in the repertory of frequently performed new works, achieving over 500 performances worldwide to date. The work is in one continuous movement and is based on the Advent plainsong of the title. On one level the piece is a purely abstract work in which all the musical material is drawn from the 15th-century French Advent plainchant; on another level it is a musical exploration of the theology behind the Adventmessage, but with a liturgical detour to the Easter Vigil at the very end.

Focusing on choral voices, this composition for choir, children's choir, organ, and chamber orchestra offers a spiritual interpretation of the Passion according to Luke. The composer opts for a choral approach, avoiding traditional arias and solo performances, which enhances the communal experience. A children's choir adds innocence to the portrayal of Christ as the sacrificial lamb, highlighting themes of uniqueness, holiness, and mystery. The work is framed by a prelude on the Annunciation and a postlude that transitions from the crucifixion to resurrection and ascension, incorporating Gospel texts that explain the Kingdom of God.

The composition explores the themes of the Triduum Paschale, reflecting on the significant events and liturgy of Holy Week, including the Last Supper, Good Friday, and the Easter Vigil. As the final piece in a trilogy commissioned by the London Symphony Orchestra, it connects with two earlier works, "The World's Ransoming" and a Cello Concerto, both from 1996. Together, these pieces create a profound musical narrative that delves into historical and spiritual dimensions of the Easter celebration.

The concerto opens with a striking motif that leads into a fast-paced solo violin section, complemented by a flowing, lyrical line. The second movement features a simple, expressive melody that evokes childhood memories with hints of Irish folk tunes. The third movement blends song and dance, introducing a playful, caricature-like character, including spoken German words. The music builds in energy and exuberance, culminating in a lyrical waltz that concludes with a tragic outburst and an unaccompanied cadenza. It is dedicated to Vadim Repin and Ellen Mac Millan.

MacMillan's Symphony No. 4, composed between 2014 and 2015, stands out for its abstract nature, diverging from his earlier symphonies. The work explores the interplay of various musical materials, reflecting the theme of 'music as ritual.' This concept has intrigued composers from Monteverdi in the early 17th century to contemporary figures like Boulez and Birtwistle. The symphony invites listeners to engage with its complex textures and the evolving dialogue between different musical ideas.

Continuing from the acclaimed early work, the narrative opens with the delicate tones of a dying breath, echoing the poignant conclusion of its predecessor. This sequel, Stabat Mater, promises to explore profound themes and emotional depth, capturing the essence of loss and reflection that characterized the original. The connection between the two works invites readers to delve into a rich tapestry of music and meaning, enhancing the overall experience.

The book presents a dramatic and powerful musical interpretation of a text from the Book of Revelation. It begins with a homophonic passage for the entire choir, characterized by wide, slowly progressing dynamic gradations leading to silence. The piece alternates between polyphonic sections and additional homophonic parts. The upper voices transition into a softer segment, accompanied by humming from the lower voices, culminating in a fortissimo that echoes the opening, bringing the work to a powerful conclusion.

This virtuoso, single-movement piece, lasting 15 minutes, was commissioned by the Nash Ensemble for the 2007 Cheltenham Music Festival. Horn players can perform from the identical part included in the piano reduction of the Concertino for Horn & Strings.

The clarinet concerto premiered in 1997 during the 'Year of Ninian' celebrations, honoring Ninian of Whithorn, the first bishop of the area and a key figure in the establishment of Christianity in Scotland. Ninian is believed to have arrived in Galloway in 397, predating the Irish missionary Columban, who is recognized as one of the "Twelve Apostles of Ireland." The work reflects this historical and spiritual significance, connecting music with Scotland's early Christian heritage.