My grandfather was a coal miner who loved music. He encouraged me to get involved. He and my mum talked music a lot, and I gradually began to find out about composers. From the first day I picked up an instrument I knew I wanted to be a composer, although at that stage I did not know what that would mean.
Who or what are the most important influences on your composing?
As a young boy it was Beethoven and Wagner. Later it was the great contrapuntalists like Palestrina and Bach who taught me about complexity. In the 20th century it was my fellow Catholic Messiaen.
What have been the greatest challenges of your career so far?
I have never thought of it as a career. I have a wide range of interests, including politics, which sometime impinge directly on my work. Being a ‘public figure’ in Scotland can bring unwelcome aggression, and while it may have nothing to do with music, it can’t help interfere with my life and work sometimes.
Which compositions/recordings are you most proud of?
I am pleased with all the recordings I have made but I only regard them as a secondary activity to composing. I am usually most absorbed in the most recent works, which are a new orchestral work for Marin Alsop, a setting of the Credo for this year’s BBC Proms and a new work for the Edinburgh Festival.
Do you have a favourite concert venue?
The Concertgebouw, Amsterdam.
Who are your favourite musicians?
I have a special admiration for choirs, and especially those choirs which have children on the top line, producing music of the highest quality and complexity. Therefore some of the British ‘church’ choirs like Westminster Cathedral and King’s College Cambridge, who have sung my music recently, are near the top of my list.
What is your most memorable concert experience?
Conducting my St John Passion in Copenhagen, Brussels and Liverpool.
What do you consider to be the most important ideas and concepts to impart to aspiring musicians/composers?
They should learn how to handle complexity – study Palestrina and Bach!
What are you working on at the moment?
I have just finished a brass band piece for Black Dyke Mills, and I have now embarked on a setting of the St Luke Passion.
What is your most treasured possession?
An actual relic of Blessed John Henry Newman.
What is your present state of mind?
Fulfilled and chilled!
James MacMillan is one of today’s most successful living composers and is also internationally active as a conductor. His musical language is flooded with influences from his Scottish heritage, Catholic faith, social conscience and close connection with Celtic folk music, blended with influences from Far Eastern, Scandinavian and Eastern European music. His major works include percussion concerto Veni, Veni, Emmanuel, which has received more than 400 performances, a cello concerto for Mstislav Rostropovich, large scale choral-orchestral work Quickening, and three symphonies. Recent major works include his St John Passion, co-commissioned by the London Symphony Orchestra, Concertgebouw Orchestra, Boston Symphony and Rundfunkchor Berlin, and his Violin Concerto, co-commissioned by the London Symphony Orchestra, Philadelphia Orchestra, Concertgebouw Zaterdag Matinee and the Ensemble Orchestral de Paris.