Sir James Macmillan (b. 1959) is one of the most prominent, prolific, and successful composers of the present time. After studies at the universities of Edinburgh and Durham he lectured at Victoria University of Manchester, becoming Associate Composer with the Scottish Chamber Orchestra. He came to prominence with the orchestral work The Confession of Isobel Gowdie at the 1990 Proms in London. This was closely followed by a percussion concerto for Evelyn Glennie in 1992 and a cello concerto commissioned and premiered by Rostropovich in 1997.

Notable successes include his opera The Sacrifice (2007) commissioned by the Welsh National Opera and the St John Passion, a joint commission by the London Symphony and Boston Symphony Orchestras, premiered by Sir Colin Davis in 2008. His Strathclyde Motets, two of which are presented this evening, won a British Composer Award for liturgical music in 2008.

Macmillan has had a significant parallel conducting career. From 2000-2009 he was associate conductor with the BBC Philharmonic, after which was appointed Principal Guest Conductor of the Netherlands Radio Chamber Philharmonic. James Macmillan will conduct the MSO in a performance of his A Christmas Oratorio in December this year.

Among his compositional influences are his political interests, Scottish traditional music, and his deep Catholic faith. His sacred choral music output includes Seven Last Words from the Cross (1993), Christus vincit! (1994), Mass (2000), St John Passion (2008), St Luke Passion (2013), Stabat Mater (2015), A European Requiem (2015), A Christmas Oratorio (2021), and Who shall separate us, an anthem for the state funeral of Queen Elizabeth II (2022). The influence of his Catholic faith is pervasive, and extends the naming of his percussion concerto, Veni, veni, Emmanuel, after a traditional text for the church season of Advent.

Music: James MacMillan (b. 1959)

The Strathclyde Motets (2010) are settings of a series of sacred texts spanning the whole church year from Advent to Trinity Sunday, mostly for unaccompanied choir. Tonight we present two of them suitable for Lenten reflection.

“Qui meditabitur” is a Communion antiphon for Ash Wednesday, psalm 1, verses 2b and 3b. The piece is based on a plainsong melody heard in the bass part in long notes throughout with florid part writing in the sopranos, altos, and tenors, imitative at first then more declamatory.

“Lux aeterna” is a setting in strict four part texture (no divisi) of the text from the Requiem mass and features the traditional plainsong melody heard this time in long notes in the alto part. This is a more reflective, less dramatic motet than “Qui meditabitur” ending with some beautifully soft “amens.”

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Qui Meditabitur
Text: From Psalm 1

Qui meditabiturin lege Domini die ac nocte dabitfructum suum in tempore suo.

He who shall meditate on the Law of the Lord, day and night, shall bring forth his fruit in due season.

Lux Aeterna
Text: From the Requiem Mass

Lux æterna luceat eis, Domine, cum sanctis tuis in æternum, quia pius es.

Let perpetual light shine upon them, O Lord, with your saints for ever, for you are merciful.

Music: James MacMillan (b. 1959)

The three Tenebrae Responsories (2006) were premiered by Cappella Nova, Scotland, in April 2007. Throughout these vocally and musically challenging a cappella settings, Macmillan demonstrates his mastery of vocal timbre and textural sonorities, always married to the sense of the text, at times declamatory, at times mysterious, at times reflective. The music often looks fiendish on the page to the singers and conductor, but always makes vocal and musical sense when mastered. Other persistent features are the ornaments, reminiscent of traditional Scottish music, and sinuous and tightly woven contrapuntal passages for three voices. For instance, at the outset of the first responsory, “Tenebrae factae sunt,” the text is evoked by low register tenor and bass voices. Dramatic shifts between loud outbursts, such as at “voce magna” and “Jesus,” and soft, imitative passages, for example “Pater, in manus tuas,” are a common feature in all three responsories. In terms of harmonic language, Macmillan uses chord progressions related by the interval of a diminished 5th to striking effect. These masterful settings provide a welcome addition to the masterpieces in the genre of Tallis and Victoria, to name just two established items in the repertoire.

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I

Tenebrae factae sunt, dum crucifixissent Jesum Judaei: et circa horam nonam exclamavit Jesus voce magna: Deus meus, ut quid me dereliquisti? Etinclinato capite, emissit spiritum. Exclamans Jesus voce magna, ait: Pater, in manus tuas commendo spiritum meum.

And darkness fell when Jesus was crucified by the Jews; and about the ninth hour Jesus cried out with a great voice, ‘O my God, why hast thou forsaken me?’ And, inclining his head, he gave up his spirit. Jesus cried out with a great voice, ‘Father, into thy hands I commend my spirit.’

II

Tradiderunt me in manus impiorum, et interiniquos proiecerunt me, et non pepercerunt animae meae: congregatisunt adversum me fortes: et sicut gigantes steterunt contra me. Alieni insurrexerunt adversum me, et fortes quasierunt meam.

They delivered me into the hands of the impious, and cast me out amongst the wicked, and spared not my soul. The powerful gathered together against me, and like giants they stood against me. Strangers have risen up against me, and the mighty have sought after my soul.

III

Jesum tradidit impius summis principibus sacerdotum, et senioribus populi: Petrus autem sequebatur eum a longe, ut videret finem. Adduxerent autem eum ad Caipham principem sacerdotum, ubiscribae et pharisaei convenerant.

The wicked man betrayed Jesus to the chief priests and elders of the people. But Peter followed him afar off, to see the end. And they led him to Caiaphys, the chief priest, where the Scribes and the Pharisees were met together.

Rebecca Clarke (1888-1979)
Text: Psalm 91

Rebecca Clarke was renowned during her lifetime as composer of chamber music and songs. However, her choral music was not known until after her death but has now been published and recorded in its entirety.

This setting of psalm 91 is scored for unaccompanied SSAATTBB choir and SATB soloists. Its genesis occurred over a twelve month period from April 1920, along with several other choral psalm settings. The principal soloist, the cantorial tenor, announces the first theme, answered in the choir by a slower version of the same theme, resulting in a certain bitonality. This work displays Clarke’s deep admiration for Ernest Bloch, post-Romantic harmonic language and an often rich texture, belying a partly orchestral conception.

We are pleased to present this long-unknown work and have enjoyed its bold originality.

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He that dwelleth in the secret place of the Most High shall abide under the shadow of the Almighty.

I will say of the Lord, He is my refuge and my fortress; My God; in him will I trust.

For he shall deliver thee from the snare of the fowler, and from the noisome pestilence.

He shall cover thee with his pinions, and under his wings shalt thou take refuge: His truth is a shield and a buckler.

Thou shalt not be afraid for the terror by night; nor for the arrow that flieth by day;

Nor for the pestilence that walketh in darkness; nor for the destruction that wasteth at noonday.

A thousand shall fall at thy side, and ten thousand at thy right hand; but it shall not come near thee.

Only with thine eyes shalt thou behold and see the reward of the wicked.

For thou, O Lord, art my refuge! Thou hast made the Most High thy habitation;

There shall no evil befall thee, neither shall any plague come nigh thy dwelling.

For he shall give his angels charge over thee, to keep thee in all thy ways.

They shall bear thee up in their hands, lest thou dash thy foot against a stone.

Thou shalt tread upon the lion and adder: the young lion and the serpent shalt thou trample under feet.

Because he hath set his love upon me, therefore will I deliver him: I will set him on high, because he hath known my name.

He shall call upon me, and I will answer him; I will be with him in trouble: I will deliver him, and honour him.

With long life will I satisfy him, and show him my salvation.

Music: James MacMillan (b. 1959)
Text: Psalm 51

The Miserere (2009), dedicated to Harry Christophers and premiered by The Sixteen, is a setting of Psalm 51: 3-21, a text commonly sung in Passiontide and Holy week, and made famous by Allegri’s immortal setting. Once again, Macmillan uses the darker timbre of low tenors and basses to great effect, giving way to a sinuous duet for sopranos featuring pentuplets ornamented with Scottish traditional acciaccaturas. Tenor and bass chords not related to the dueling sopranos creates a discomforting bitonal effect underlining the text. Declamatory chordal writing ensues at “ecce enim iniquitatibus” and “asperges me.” At “Auditui meo dabis Gaudium” the composer resorts to chanted chords quasi plainsong, alternating between upper and lower voices. At “Redde mihi laetitiam” midrange textural warmth is created by scoring of the divisi altos and tenors, joined later by a soprano descant line. At “Libera me” the whole choir cries out in rhythmic unison passages featuring ornamented pentuplets once again. This gives way to a series of solo phrases accompanied by sparse held notes in various voices until the molto adagio “Tunc acceptabis.” Starting very softly, low in each voice, this passage transitions through a shattering climax (“et holocaustis”), a gentle diminuendo and a peaceful conclusion. This work abounds in originality with a nod to pre-existing settings of this text, and is justly one of Macmillan’s best loved works for audiences and choirs alike.

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Miserere mei, Deus: secundum magnam misericordiam tuam.
Et secundum multitudinem miserationum tuarum, dele iniquitatem meam.
Amplius lava me ab iniquitate mea: et a peccato meo munda me.
Quoniam iniquitatem meam ego cognosco: et peccatum meum contra me est semper.
Tibi soli peccavi, et malum coram te feci: ut justificeris in sermonibus tuis,et vincas cum judicaris.

Have mercy upon me, O God: after Thy great goodness.
According to the multitude of Thy mercies, do away mine offences.
Wash me thoroughly from my wickedness: and cleanse me from my sin.
For I acknowledge my faults: and my sin is ever before me.
Against Thee only have I sinned, and done this evil in thy sight:
that Thou mightest be justified in Thy saying, and clear when Thou art judged.

Ecce enim in iniquitatibus conceptus sum:
et in peccatis concepit me mater mea.
Ecce enim veritatem dilexisti:
incerta et occulta sapientiae tuae manifestasti mihi.

Behold, I was shapen in wickedness:
and in sin hath my mother conceived me.
But lo, Thou requirest truth in the inward parts:
and shalt make me to understand wisdom secretly.

Asperges me hysopo, et mundabor:
lavabis me, et super nivem dealbabor.
Auditui meo dabis gaudium et lætitiam:
et exsultabunt ossa humiliata.

Thou shalt purge me with hyssop, and I shall be clean:
Thou shalt wash me, and I shall be whiter than snow.
Thou shalt make me hear of joy and gladness:
that the bones which Thou hast broken may rejoice.

Averte faciem tuam a peccatis meis:
et omnes iniquitates meas dele.
Cor mundum crea in me, Deus:
et spiritum rectum innova in visceribus meis.
Ne projicias me a facie tua:
et spiritum sanctum tuum ne auferas a me.

Turn Thy face from my sins: and put out all my misdeeds.
Make me a clean heart, O God: and renew a right spirit within me.
Cast me not away from Thy presence: and take not Thy Holy Spirit from me.

Redde mihi lætitiam salutaris tui:
et spiritu principali confirma me.
Docebo iniquos viastuas:
et impii ad te convertentur.

O give me the comfort of Thy help again:
and stablish me with Thy free Spirit.
Then shall I teach Thy ways unto the wicked:
and sinners shall be converted unto Thee.

Libera me de sanguinibus, Deus, Deus salutis meæ:
et exsultabit lingua mea justitiam tuam.
Domine, labia mea aperies:
et os meum annuntiabitlaudem tuam.
Quoniam si voluisses sacrificium, dedissem utique:
holocaustis non delectaberis.

Deliver me from blood-guiltiness, O God, Thou that art the God of my health:
and my tongue shall sing of Thy righteousness.
Thou shalt open my lips, O Lord:
and my mouth shall show Thy praise.
For Thou desirest no sacrifice, else would I give it Thee:
but Thou delightest not in burnt-offerings.

Sacrificium Deo spiritus contribulatus: cor contritum,et humiliatum, Deus, non despicies. Benigne fac, Domine, in bona volunta te tua Sion:
ut ædificentur muri Jerusalem.

The sacrifice of God is a troubled spirit:
a broken and contrite heart, O God, shalt Thou not despise.
O be favourable and gracious unto Sion:
build Thou the walls of Jerusalem.

Tunc acceptabis sacrificium justitiæ, oblationes,
Et holocausta: tunc imponent super altare tuum vitulos.

Then shalt Thou be pleased with the sacrifice of righteousness, with the burnt-offerings and oblations:
then shall they offer young bullocks upon Thine altar.

Soprano
Cathy Green
Meg Nelson
Jane Wiebusch
Marion Wilson

Alto
Elizabeth Chong
Miranda Gronow
Alex Ritter
Emma Warburton

Tenor
Will Darbyshire
Ed Chan
Jonathan Glenning
Christopher Watson

Bass
Ian Damman
Lachie McDonald
Paul McDonald
Josh McLeod
Steve Treloar

Michael is a conductor, chorusmaster, and vocal coach. A graduate of the University of Queensland, Queensland Conservatorium of Music, and Guildhall School of Music and Drama (London), he studied conducting with John Curro, David Porcelijn (ABC Young Conductors Mastercourse), Robert Rosen, and with Sir Charles Mackerras and Sir Mark Elder in the UK.

Michael has conducted performances for Opera Queensland (Elixir of Love, 1998), the Guildhall School of Music and Drama (Postcard from Marocco, 2001), Victorian State Opera (Don Giovanni 1996), and the Queensland Conservatorium Opera School (Billy Budd, 1993, L’elisir d’Amore 1994, Elijah the Opera 1995, Going into Shadows 2001, Pilgrim’s Progress in the presence of Ursula Vaughan Williams, 2002). Oratorio conducted or chorusmastered includes Dream of Gerontius (Elgar), the Bach passions and B minor mass, Beethoven’s Ninth, Mozart, Haydn and Schubert masses, the requiems of Verdi, Brahms and Mozart, and, for the New Zealand International Arts Festival Parsifal (Wagner), Macmillan’s Quickening (2006), and Mahler’s Eight Symphony (2010, Ashkenazy).

Since 2013, Michael has been founding Artistic Director of Polyphonic Voices and Director of Music at Christ Church South Yarra. He is also National President of the Australian National Choral Association, director of Chapel Music at Christ Church Grammar School, and Vocal tutor at Melbourne Grammar School. Michael is currently guest chorusmaster for the MSO Chorus’ Beethoven Ninth Symphony.

Higher Power
Polyphonic Voices join regular collaborators the Melbourne Chamber Orchestra for a program featuring Vivaldi’s Magnificat and Vasks’ Da Pacem Domine.

7.30pm Thursday 4 May
32.30pm Sunday 7 May
Melbourne Recital Centre
Tickets available now