MacMillan, James: St John Passion (2007) 87'
for solo baritone, chorus and orchestra
Music Text Deutsch
Revised Standard Version of The Bible (E); the Vulgate (L)
Scoring
1 baritone solo, small chorus(="narrator"), larger chorus 2(II=picc).2(II=corA).2(II=bcl).1.dbn-4.3.3.1-timp.perc(1):t.bells/tuned gongs/tgl/Sanctus bells/5tpl.bl/SD/BD/susp.cym/sizzle cym/tam-t-chamber organ-strings
World Premiere
4/27/2008
Barbican Hall, London
Christopher Maltman, baritone / London Symphony Orchestra and Chorus / Colin Davis CBE
Composer's Notes
After writing my Seven Last Words from the Cross in 1993, I always knew that the inevitable next step would be a setting of one of the Gospel Passion narratives. It has since been my ambition to tackle such a project. I decided on St John's text, as it is the version with which I am most intimately acquainted, hearing it recited or sung every Good Friday in the Catholic liturgy. In fact, since my student days in Edinburgh I have regularly participated in the Gregorian or Dominican chanting of the Crucifixion story on that day. This simple music has had an overriding influence on the shape and character of my own Passion setting.
The scoring is for one principal soloist, Christus - a baritone, a chamber choir which carries the Narrator's words, a large chorus which takes all the other text, including the characterisation of the other main players in the drama, and orchestra. The instrumental approach was to make a sparse and lean texture, (so there is limited percussion, no harps or the usual keyboards, although there is a chamber organ), while maintaining the potential for full dramatic climaxes where necessary.
I have divided the work into ten movements. At the end of movements 1-9, I have interpolated a Latin text which takes something of the general theme and development of the story, and allows time for a more objective and detached reflection. The final movement is purely instrumental - a song without words.
I have a love of liturgical music, and specifically, of the cool purity of chant. As well as this, I love opera, and the composition of this Passion has come immediately after my new piece for Welsh National Opera, The Sacrifice. I was aware of the inevitable effect that this piece was having on the progress of my St John narrative. In fact some of the opera music has drifted quite naturally into the new sphere. I was also aware of the paradoxical tension created between the two highly contrasted musical contexts - liturgical chant and music drama. Balancing, creating opposition sometimes, and at other times elisions and cross-fertilisations between the two, became the delight in composing this work.
My St John Passion is dedicated to Sir Colin Davis in his 80th birthday year, as a token of my admiration and appreciation for one of this country's greatest musicians, and for the wonderful music making he has given us throughout his life.
© James MacMillan 2008
Reproduction Rights:
This programme note may be reproduced free of charge in concert programmes with a credit to the composer
Press Quotes Deutsch
"MacMillan has come up with a masterly work that has all the hallmarks of a 21st-century classic… MacMillan is a master of ratcheting up the tension, building the drama, his subtle use of syncopation adding to the effect. But he can also turn his hand to the most lyrical, vulnerable music."
Musical America
“A blazing blockbuster, a piece as fiercely communicative as anything that the 48-year-old MacMillan has written before…. The end of Part One was masterly: no loudspeaker wailing as the Crucifixion loomed, but a resigned, pianissimo meditation, threaded with keening instrumental solos.” The Times
News stories for this title :
James MacMillan: reviews of St John Passion premiere
MacMillan: St John Passion premiere by Sir Colin Davis
for solo baritone, chorus and orchestra
Music Text Deutsch
Revised Standard Version of The Bible (E); the Vulgate (L)
Scoring
1 baritone solo, small chorus(="narrator"), larger chorus 2(II=picc).2(II=corA).2(II=bcl).1.dbn-4.3.3.1-timp.perc(1):t.bells/tuned gongs/tgl/Sanctus bells/5tpl.bl/SD/BD/susp.cym/sizzle cym/tam-t-chamber organ-strings
World Premiere
4/27/2008
Barbican Hall, London
Christopher Maltman, baritone / London Symphony Orchestra and Chorus / Colin Davis CBE
Composer's Notes
After writing my Seven Last Words from the Cross in 1993, I always knew that the inevitable next step would be a setting of one of the Gospel Passion narratives. It has since been my ambition to tackle such a project. I decided on St John's text, as it is the version with which I am most intimately acquainted, hearing it recited or sung every Good Friday in the Catholic liturgy. In fact, since my student days in Edinburgh I have regularly participated in the Gregorian or Dominican chanting of the Crucifixion story on that day. This simple music has had an overriding influence on the shape and character of my own Passion setting.
The scoring is for one principal soloist, Christus - a baritone, a chamber choir which carries the Narrator's words, a large chorus which takes all the other text, including the characterisation of the other main players in the drama, and orchestra. The instrumental approach was to make a sparse and lean texture, (so there is limited percussion, no harps or the usual keyboards, although there is a chamber organ), while maintaining the potential for full dramatic climaxes where necessary.
I have divided the work into ten movements. At the end of movements 1-9, I have interpolated a Latin text which takes something of the general theme and development of the story, and allows time for a more objective and detached reflection. The final movement is purely instrumental - a song without words.
I have a love of liturgical music, and specifically, of the cool purity of chant. As well as this, I love opera, and the composition of this Passion has come immediately after my new piece for Welsh National Opera, The Sacrifice. I was aware of the inevitable effect that this piece was having on the progress of my St John narrative. In fact some of the opera music has drifted quite naturally into the new sphere. I was also aware of the paradoxical tension created between the two highly contrasted musical contexts - liturgical chant and music drama. Balancing, creating opposition sometimes, and at other times elisions and cross-fertilisations between the two, became the delight in composing this work.
My St John Passion is dedicated to Sir Colin Davis in his 80th birthday year, as a token of my admiration and appreciation for one of this country's greatest musicians, and for the wonderful music making he has given us throughout his life.
© James MacMillan 2008
Reproduction Rights:
This programme note may be reproduced free of charge in concert programmes with a credit to the composer
Press Quotes Deutsch
"MacMillan has come up with a masterly work that has all the hallmarks of a 21st-century classic… MacMillan is a master of ratcheting up the tension, building the drama, his subtle use of syncopation adding to the effect. But he can also turn his hand to the most lyrical, vulnerable music."
Musical America
“A blazing blockbuster, a piece as fiercely communicative as anything that the 48-year-old MacMillan has written before…. The end of Part One was masterly: no loudspeaker wailing as the Crucifixion loomed, but a resigned, pianissimo meditation, threaded with keening instrumental solos.” The Times
News stories for this title :
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