James Macmillan Book order

(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.

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.

Inspired by Scottish traditional music, this work for soprano saxophone and string orchestra unfolds in three movements. The first movement, a lively March, Strathspey, and Reel, features increasing tempos typical of dance medleys. The second movement loosely follows Gaelic psalm singing practices, with the solo saxophone leading a melodic line while the string orchestra creates a heterophonic texture. The final movement is grounded in a simple jig rhythm, marked 'giocoso', adding a playful character to the piece.

Published to mark the 60th birthday of one of Britain's leading composers, this is a unique insight into Sir James MacMillan's thoughts on music, faith and life

(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.

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 features three poems that address political repression in Latin America, intertwining themes of sacred and secular elements. The title, which translates to "Songs of Dedication," may mislead readers, as the work deliberately juxtaposes traditional religious texts with contemporary issues. This pairing aims to foster a deeper solidarity with the impoverished communities of the region, highlighting both timeless and timely concerns.

The composition, commissioned by the Genesis Foundation for Harry Christophers and The Sixteen, serves as a much-anticipated continuation of MacMillan's earlier work, Seven Last Words from the Cross. With a mixed choir and string orchestra, it opens with the delicate sound of "dying breath," echoing the conclusion of the previous piece. Stabat Mater is structured in four movements, spanning a total duration of 53 minutes, showcasing MacMillan's evolving musical exploration and emotional depth.