James MacMillan’s music of tranquility and discord

The composer’s music contends both the secular and sacred.

Jonathan Evens

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A conductor leans in toward an unseen orchestra with a raised hand.

MacMillan conducting.

Hans van der Woerd, Intermusica.

Sir James MacMillan is one of today’s most successful composers, as is evidenced by his achievements in 2024. This year alone has seen the premiere of a new work for choir ‘Ordo Virtutum’ (January), the UK premiere of his cantata ‘Fiat Lux’ (March), the premiere of his new version of Robert Burns’ song ‘Composed in August’ (March), the premiere of his ‘Concerto for Orchestra’ (September), and the premiere of his ‘Duet for Horn and Piano’ (November).

Back in March he also became the 26th Fellow of The Ivors Academy, joining a rollcall of extraordinary composers and songwriters, including John Rutter, John Adams, Sir Elton John, Sir Paul McCartney, Dame Judith Weir and Sting. While, in September, he accepted the Sky Arts Classical Music Award 2024 on behalf of The Cumnock Tryst, the annual music festival he founded in his hometown, which brings together many local community groups on stage alongside some of the world’s most acclaimed musicians.

His music, which is notable for its energy and emotion, is imbued with influences from his Scottish heritage, Catholic faith, social conscience and close connection with Celtic folk music, blended with influences from Far Eastern, Scandinavian and Eastern European music. Accordingly, Tom Gray, Chair of The Ivors Academy, describes MacMillan as “a titan of music, generous in his creativity and craft” and “a foremost proponent of the power of music to communicate and forge bonds”.

He first became internationally recognised after the extraordinary success of ‘The Confession of Isobel Gowdie’ at the BBC Proms in 1990. Since then, his prolific output has been performed and broadcast around the world with his major works including his most performed work the percussion concerto ‘Veni, Veni, Emmanuel’ (1992), a cello concerto for Mstislav Rostropovich (1996), an opera ‘The Sacrifice’ (2007), the ‘St John Passion’ (2008), and five symphonies. For his services to music, he was awarded a CBE in 2004 and a knighthood in 2015.

“In this age of unbelief, the search for the sacred in art and music hasn’t gone away”.

James MacMillan

As will be clear from the titles of works cited thus far, many of his works, such as ‘Ordo Virtutum’, a setting of a sacred music drama by Hildegard of Bingen concerned with the struggle for the human soul in a battle between good and evil, and ‘Fiat Lux’, a celebration of the divine gift of light, directly express his Catholic faith. David Clayton writes that, “Aside from being one of the greatest living composers and conductors of classical music, Sir James is a Catholic whose faith informs all his work”. Clayton also describes him as “a deep thinker who communicates clearly the nature of the creative process when one seeks to create beauty to bring Glory to God”.

MacMillan believes that “Far from being a "spent force", religion has proved to be a vibrant, animating principle in modern music and continues to promise much for the future.” When he speaks about music and the idea of the sacred, as he did most recently at The Sheldonian Theatre in Oxford in October, he emphasises that music seems to be “the most spiritual of the arts, and composers have always seemed to be on a search for the sacred in their work”. He notes that “In this age of unbelief, the search for the sacred in art and music hasn’t gone away”.

In brief, he sees himself as standing in a modernist tradition that includes: Stravinsky, who “was as conservative in his religion as he was revolutionary in his musical imagination”; Schoenberg, “a mystic who reconverted to practising Judaism after the Holocaust”; John Cage, who explored “the spiritual connections between music and silence”; Olivier Messiaen, who “was famously Catholic” with “every note of his unique contribution to music” being “shaped by a deep religious conviction”; Jonathan Harvey, “who has allowed eastern mysticism and his own Anglicanism to adorn his searchingly original scores”; John Tavener, whose conversion to Orthodoxy “had a dramatic impact on his style and aesthetic”; and the “intriguing and disturbing religious shadings of musical modernity” to be found in the post-Shostakovich generation from eastern Europe - Henryk Górecki (Poland), Arvo Pärt (Estonia) Giya Kancheli (Georgia), Galina Ustvolskaya, Alfred Schnittke and Sofia Gubaidulina (Russia).

In this 'obedience' of listening and following, we are stretched and deepened, physically challenged as performers, imaginatively as listeners.

He argues that while, for a time, a post-War reaction led many modernist composers to opt for a primarily abstract style and eschew the stirring up of emotions through music, in more recent years, composers have increasingly re-embraced emotion and, thereby, also spirituality. He also notes significant connections between the music of antiquity and that the modern world. The influence of plainsong and Gregorian chant on modern music, for example, demonstrates a continuing relationship between faith and the arts.

He has suggested that God's power “is presence as absence; absence as presence” and that this is also “precisely what music is”. So, “The umbilical cord between silence and music is the umbilical cord between heaven and earth”. As a result, “the war against silence is a war against ourselves and against our interior life”. He is in agreement with the Scottish Jesuit John McDade, who wrote that "Music may be the closest human analogue to the mystery of the direct and effective communication of grace". MacMillan suggests, therefore, “that music is a phenomenon connected to the work of God in the way it touches something deep in our souls and releases a divine force”.

In similar vein, he also quotes Rowan Williams who, in a sermon some years ago for the Three Choirs Festival, said: "To listen seriously to music and to perform it are among our most potent ways of learning what it is to live with and before God, learning a service that is a perfect freedom... In this 'obedience' of listening and following, we are stretched and deepened, physically challenged as performers, imaginatively as listeners. The time we have renounced, given up, is given back to us as a time in which we have become more human, more real, even when we can't say what we have learned, only that we have changed."

Being stretched and deepened in this way is certainly our experience as listeners of MacMillan’s works. Michael Capps suggests that MacMillan knows that “music dealing openly and honestly with the Christian tradition will not always be pleasing, safe, or tame”. His music “contends” in that it “produces arguments and embodies alternatives, not only to its many secular substitutes, but also to allegedly Christian options that lack the tang and piquancy of Christian particularity.” As a result, “MacMillan’s music also reveals: it shows us a world of both tranquility and discord that we readily recognize, and allows us to better appreciate that world’s fleeting harmonies”.

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Economics

23 October 2024

1 min read

Budgeting for discontent

The Chancellor can't please everyone, but is contentment possible?

Paul Valler

Paul Valler is an executive coach and mentor. He is a former chair of the London Institute for Contemporary Christianity.

A woman stands behind a lectern against a blue and red backdrop.

Chancellor Rachel Reeves speaks at a recent event.

HM Treasury.

As the Chancellor Rachel Reeves seeks to raise billions in this Autumn budget, the news media are all over the downsides. Poor pensioners freezing during winter and businesses complaining of the tax burden are political headlines. Tough choices must be made, but we are rarely happy when it comes to money.

Economic discontent is ironically a cultural norm in first world countries. In the west we have become used to what psychologists call the hedonic treadmill – adjusting our expectations to any new benefits and finding ourselves wanting even more, to try to maintain the same level of happiness. It’s a mentality that dooms us to discontent. Socrates said, ‘He who is not contented with what he has, would not be contented with what he would like to have.’

Contentment seems to be a forgotten virtue today, and increasingly elusive in a society striving for happiness through wealth. Yet being content in life is a more valuable form of wealth than money. There is something enormously attractive about a tranquil state of mind and heart. Contentment does not mean passive acquiescence; there is a noble side to being passionately discontented about something that is unjust – especially when we are fighting for others. William Wilberforce demonstrated that with his campaign for the repeal of laws allowing slavery.

Our personal challenge is to be content in ourselves, whatever the circumstances. Oscar Wilde said, ‘True contentment is not having everything, but being satisfied with everything you have.’ Practising paying attention to what we do have and being thankful for it. That attitude of gratitude is a recognised way to lift our mood and strengthen our resilience. But thankfulness doesn’t solve every problem. Warm words may help warm hearts, but they don’t heat cold homes. Although gratitude is proven to improve our wellbeing, it’s not enough to compensate for all the problems of life. Because here’s the deal; life is tough and then you die, and there are many worse things than economic woes.

Pain, grief and loss are all too common, and they can test our resilience beyond what feels like our ability to endure. Chronic physical or mental illness for example; or being permanently disabled. Or the life-sapping effort to parent children with special needs; or caring for a parent/partner with dementia - especially when it goes on and on. Sometimes horrible events happen like violent abuse, or the deep grief of relationship breakdown or bereavement. This level of suffering pushes us to the end of ourselves, to the place where something more than psychological self-help is needed. What is the secret of contentment then?

I don’t envy the Chancellor, and I do not trivialise the very real challenges raised by having to make tough economic choices.

This is where the secular and the Christian worldview are radically different. Secular philosophers call people to show their own self-sufficiency and superior reason when enduring suffering. This can feel principled and stoic, but it lacks empathy and hope. Christianity accepts the reality of our own weakness and insufficiency, recognising that we can’t fix everything ourselves. Instead of trusting in humanity, we choose to trust God both for this life and the life to come. And this trust and hope is linked to a deeper form of contentment, which transcends pure rationality.

Of course, sceptics say this is just psychological comfort from an imaginary friend, and it doesn’t make sense, because surely any good God would not allow us to suffer in the first place. But any realist must acknowledge that a lot of human suffering comes from the damaging exercise of our own free will. Wars and slavery are examples. If God were to override our free will, we would be robbed of the authentic capacity to love, which makes us fully human. The coexistence of free will, suffering and God is a complex issue.

The experience of millions of Christ followers is that trusting God is much more than imaginary comfort. God is real and prayer changes things; the most ordinary, natural and chance experiences can be affected by it. And prayer changes us. In our vulnerability, if we choose to trust God something changes, we begin to relax, things become a bit easier to bear. In fact, the apostle Paul claimed that Christ’s power was perfected in his own weakness.

Contentment is a strange peace that comes from trusting God in the middle of difficult circumstances. One of the great old hymns was written by a man who lost his four daughters in an accident at sea, and also lost all his money in a fire. The refrain says, ‘It is well, it is well with my soul.’ This isn’t denial or delusion, it is the inner sense of quietness that God can give. Only an eternal perspective allows for that kind of contentment.

I don’t envy the Chancellor, and I do not trivialise the very real challenges raised by having to make tough economic choices. Britain is clearly in a place where some stringent fiscal discipline is needed, and that will inevitably cause some hardship and difficulties. But in the face of all the discontent that is so freely shared in the news, there is another way to respond. Instead of complaining about our flawed Government or moaning about our circumstances, we can change our perspective to put our trust in the ultimate Authority. And in doing so can find a peace that the world cannot give. Contentment is a treasure beyond the wealth of nations.