James Mac Millan - Rising Success

Rising Success

He came to the attention of the classical establishment with the BBC Scottish Symphony Orchestra's premiere of The Confession of Isobel Gowdie at the Proms in 1990. Isobel Gowdie was one of many women executed for witchcraft in 17th century Scotland. According to the composer, "the work craves absolution and offers Isobel Gowdie the mercy and humanity that was denied her in the last days of her life".

The work's international acclaim spurred more high-profile commissions, including a percussion concerto for fellow Scot Evelyn Glennie, Veni, Veni, Emmanuel. It was premiered in 1992 and has become MacMillan's most performed work. He was also asked by Mstislav Rostropovich to compose a cello concerto, which was premiered by Rostropovich himself in 1997.

Further successes have included his second opera The Sacrifice, commissioned by Welsh National Opera, Autumn 2007, which won a Royal Philharmonic Society Award, and the St John Passion jointly commissioned by the London Symphony Orchestra and Boston Symphony Orchestra and conducted by Sir Colin Davis at its world premiere in April 2008. He was awarded the British Composer Award for Liturgical Music, for his Strathclyde Motets, in December 2008.

James MacMillan has worked occasionally with the folk band The Whistlebinkies, for whom he set and performed the William Soutar poem "Tryst". MacMillan conducted a new production of Parthenogenesis at the Royal Opera House in June 2009.

Read more about this topic:  James Mac Millan

Famous quotes containing the words rising and/or success:

    Even Lust the Master of a hardned Face,
    Blushes if thou beest in the place,
    To darkness’ Curtains he retires,
    In Sympathizing Night he rowls his smoaky Fires.

    When, Goddess, thou liftst up thy wakened Head,
    Out of the Mornings purple bed,
    Thy Quire of Birds about thee play,
    And all the joyful world salutes the rising day.
    Abraham Cowley (1618–1667)

    Men of extraordinary success, in their honest moments, have always sung, “Not unto us, not unto us.” According to the faith of their times, they have built altars to Fortune, or to Destiny, or to St. Julian. Their success lay in their parallelism to the course of thought, which found in them an unobstructed channel; and the wonders of which they were the visible conductors seemed to their eye their deed.
    Ralph Waldo Emerson (1803–1882)