Album insights
Interestingly, James MacMillan cites Kenneth Leighton as a significant influence that dates back to his youth when he sang Leighton's music in the school choir. Despite this, Leighton is often not mentioned in texts dedicated to MacMillan, which usually highlight other trendy composers as key influences. However, MacMillan's emotional and intellectual ties to Leighton are evident, explaining his desire to study at the Edinburgh University where Leighton held the music professorship. Leighton's essentially melodic composition style emphasized the lyrical, even when incorporating the twelve-tone technique. Moreover, Leighton's faith was crucial to MacMillan, who valued his passionate and expressive music craftsmanship.
In interviews, MacMillan distinguishes himself from "holy minimalists" such as Tavener, Pärt, and Górecki, highlighting his perspective on transcendence rooted in the joys and tragedies of everyday life rather than avoiding conflict. Messiaen and Shostakovich are two significant inspirations for MacMillan, known for seeking heavenly inspiration and living in the depths, respectively. MacMillan stresses the importance of serious listeners engaging with profound music, emphasizing the transformative potential of this connection.
MacMillan's innate sense of drama, fueled by his interest in political oppression in Latin America and liberation theology, distinguishes him stylistically from the holy minimalist trio. Inspired by theologians like Jürgen Moltmann and Dietrich Bonhoeffer, MacMillan integrates theatrical elements into various works, reflecting his commitment to socially engaging music. His composition "Seven Last Words from the Cross" exemplifies the convergence of profound storytelling and dramatic expression, inviting a contemplative engagement from the audience.
The composition, a poignant reflection on the crucifixion of Christ, incorporates the final words Jesus spoke while facing death. Each section of the piece reflects different emotional themes – from sorrow and despair to eventual acceptance and transcendence. MacMillan skillfully weaves traditional elements with modern innovations, creating a deeply moving and spiritually evocative musical experience.
Klänge is a 1997 choral composition for the choir of Gonville and Caius College, Cambridge, based on a beautiful poem by Jeremy Taylor. Reflecting on themes of transformation and divine peace, the piece showcases MacMillan's ability to blend soaring melodies with complex harmonies, capturing the essence of the text vividly.
Te Deum, commissioned for the British Queen's Golden Jubilee, debuts MacMillan's distinct approach to the commonly set text. Departing from traditional Anglican liturgy, the piece transcends genre boundaries, embodying MacMillan's pursuit of evoking contemplative and transformative experiences for listeners. With characteristic elements such as contemplative gestures and intricate vocal and organ harmonies, Te Deum represents a fusion of medieval English and Scottish musical traditions, culminating in a powerful and profound musical expression.