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Barry Millington's rating
Bursting with passion
By
Barry Millington
28 Apr 2008
No composer writing a St John Passion today can be oblivious to the models of Bach, three centuries old though they may be.
James MacMillan, with his religious background, is certainly aware of that benevolent shadow. But his new St John Passion, receiving its world premiere under its dedicatee, Colin Davis, is at its most distinctive and original precisely where it departs from its exemplars.
Where Bach gives his narration to an Evangelist, MacMillan gives it to a semi-chorus which sweeps the story forward equally rapidly in a curious form of harmonised chant, with Semitic overtones.
Each of the nine choral movements ends with the main vocal group (the LSO Chorus in splendid voice) meditating or declaiming in Latin. There is only one solo voice, that of Christus, a strenuous part but one to which Christopher Maltman rose heroically, delivering the richly dramatic word-setting to fine effect. At key moments of Christ’s declamation, the orchestra explodes in a sunburst of sound — equivalent, perhaps, to the halo effect of the orchestrated recitatives in Bach’s Matthew Passion.
That is one of many striking moments in MacMillan’s work: another is the Gesualdo-like sublimity of the chorus that ends the first part, all the more compelling for its contrast with extended passages of strident fulmination.
MacMillan’s is an angry response to the Passion story, its oases of tranquillity and reflection few and far between. The LSO crackled vigorously under Davis, finding peace only in the sombre beauty of the final, elegiac instrumental section.
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Reader views (4)
It's easy to get carried away in the general euphoria which can attend the first performance of a major work, although MacMillan's St. John Passion did indeed seem to merit the enthusiastic reception it received. Not least remarkable is Sir Colin's willingness at his time of life to engage in the preparation and performance of a challenging new work such as this and carry it off so commandingly. His energy is remarkable; long may it last.
Full marks to all participants for a memorable experience. Fortunately the recording will allow us to reassess the work in the cool light of day but I suspect it will remain a compelling piece. My only reservation is the suitability of the Barbican Hall's acoustic for choral works on this scale - the sound seemed to need more space around it, a feeling I have had on a number of occasions. A Prom performance at some future date would be illuminating.
- Andrew Mitchell, Wallington, Surrey, England, 29/04/2008 23:17
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I am a novice at classical concerts, but I knew I was attending something special at this first night. There was so much to enjoy; the huge and very skilled orchestra dressed smartly, the massive choir, the octogenarian famous conductor and the impressive soloist. I especially enjoyed the semi-chorus doing the narration. The structure of the piece was also interesting, with most of the dialogue crammed into the first half, leaving room for more musicality in the second. I was delighted by the purely orchestral last part. I will look out for the recording. My ticket costs £25, which is what I pay for football matches. A far more more memorable occasion than watching Championship teams!
- Peter Cartwright, Ilford, Essex, UK, 29/04/2008 11:17
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Compelling, brilliant, moving, profound - words can't express. Thrilling and memorable - this is a great work and the chorus did really well especially the basses! Christopher Maltman was commanding even when pitted against bells and brass. It was a master stroke to include the Reproaches and the choral sections at the end of each section. In the final orchestral section the Tristan cello theme met the Sanctus from the St Anne's Mass on the horns and all ended in the minor with a real sense of drama and completion.
- John Woodhouse, London UK, 29/04/2008 09:27
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My wife and I attended this concert. It was a very special experience from the pre-concert event right through to the dark silence at the end of the piece before anyone felt their feet had touched the ground safely enough to applaud. A brilliant inspired composition, brilliantly performed by everyone so committed to make it work. Pure class, and a jewel in the crown of orchestral performance in London. The Elegy which closes the work created an extraordinary atmosphere you could cut with a knife and is still ringing in my ears days later.
- Tony Faulkner, London, 29/04/2008 08:24
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