James MacMillan

‘What!? But they won’t let you in!’ and ‘What!? But they’ll detain you at the border!’ and ‘What!? But they’re all nuts over there!’ were just some of the responses from friends and colleagues at my announcement that I was heading to the US for three and a half weeks’ work. But my visa was valid and accepted at passport control, I wasn’t thrown in jail, and the people whom I met and worked with were perfectly sane, perfect hosts and a perfect delight. First up was the Minnesota Orchestra, where I conducted two concerts of my own music and more well-known works by Rachmaninov and Rimsky-Korsakov. Also on the programme was an excerpt from Wagner’s Parsifal.

I was in Sweden a few weeks ago, where my music was presented in Stockholm in the most recent International Composer Festival. One of the orchestral works performed was my football-themed ‘Eleven’ (11 players, melodies of 11 notes, chords of 11 pitches and various football chants woven into the fabric of the score). I’m not the first composer obsessed with the beautiful game. Bohuslav Martinu’s ‘Half-time’, written in 1924, was inspired by the supporters of his team, Sparta Prague. And more recently there have been bold examples by English composers Mark-Anthony Turnage (who worked chants for his beloved Arsenal into his orchestral piece ‘Momentum’) and Benedict Mason, in whose opera Playing Away even the ball sings an aria.

Summer study courses for young composers have been popular for a few generations. After the second world war, up-and-coming experimental composers started flocking to places like Darmstadt in Germany for the Internationale Ferienkursen für Neue Musik. Olivier Messiaen taught there in the late 1940s and 1950s, when among his students were Stockhausen and Boulez. Attending the 1980 course as an undergraduate, I benefitted from a lesson with Brian Ferneyhough and conversations with Wolfgang Rihm, who died last week and was described in one obituary as ‘the last great German composer’. In the US, the summer activities at places such as Tanglewood and Aspen have become part of the learning process for many young composers over the years.

‘Has this been the happiest year of my life?’ I found myself asking recently. It has certainly been topped with the arrival of a third granddaughter last month. (My first, little Sara Maria, died a few years ago.) The birth of Rosie Elisabeth has taken our joy to cosmic levels, but 2023 has been a succession of delights, mainly connected to the concerts I’ve been able to conduct around the globe, from St Louis to Tallinn. After the evils of lockdown, many of us worried that musical life would never return. But it has. I will never, ever take cultural life for granted again. One highlight this year was the culmination of a huge project at my festival in East Ayrshire, the Cumnock Tryst.

There were two world premieres during the Queen’s funeral on Monday. One was a beautiful setting of some verses from Psalm 42 by Judith Weir, the Master of the King’s Music, and the other was an anthem by me, a setting of a passage from Romans 8, ‘Who Shall Separate Us From The Love of Christ?’ I wonder if Judith had to deal with some of the questions I got on the day. How could I have written the music so fast considering that Her Majesty only died on 8 September? Of course, these things are planned years in advance, so I composed the anthem some time ago. I was asked to keep quiet about it until Sunday night when the order of service was published.