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James Loy MacMillan
1959 -
Great Britain, Scotland
J. MacMillan
James (Loy) MacMillan CBE (16/07/1959) is a Scottish classical composer and conductor. MacMillan was born at Kilwinning, in North Ayrshire, but lived in the East Ayrshire town of Cumnock until 1977. He studied composition at the University of Edinburgh with Rita McAllister, and at Durham University with John Casken, gaining a PhD in 1987. He was a music lecturer at the University of Manchester from 1986-1988. After his studies, MacMillan returned to Scotland, composing prolifically, and becoming Associate Composer with the Scottish Chamber Orchestra, often working on education projects.
Composed in:1989
Musical form:free
Text/libretto:Latin mass + Ariel Dorfman (trans. Edie Grossman)
Identity for chorus SATB and organ; from: Cantos sagrados (duration: 22'), which contains:
01. Identity /​ texts: Ariel Dorfman (trans. Edie Grossman) ; Libera amimas omnium (from Requiem Mass)
02. Virgin of Guadalupe /​ texts: Ana Maria Mendoza (trans. Gilbert Markus) ; Salve Mater, coeli parta (trad.)
03. Sun stone /​ texts: Ariel Dorfman (trans. Edie Grossman) ; Et incarnatus est (from Credo)

♫ 01. Identity
© Signum Records SIGCD604

♫ 02. Virgin of Guadalupe
© Signum Records SIGCD604

♫ 03. Sun stone
© Signum Records SIGCD604
Vladimiro Ariel Dorfman (06/05/1942) is a Chilean novelist, playwright, essayist, academic, and human rights activist. A citizen of the United States since 2004, he has been a professor of literature and Latin American Studies at Duke University, in Durham, North Carolina since 1985.
V.A. Dorfman
A European Requiem
Period:21st century
Composed in:2015
Musical form:free
A European Requiem (2015) for counter-tenor (or alto) and baritone soli, mixed chorus and orchestra. The concert Requiem, as it developed from the 19th century, is a particularly European form that composers have turned to when they identify with a sense of loss, often as much within themselves, as prompted by a specific death. That is the case with my work, which is not a memorial for a loved one but rather a general response to this vivid text, coloured by a realism and wistfulness at the passing of deep cultural resonances.
It attempts to fuse the Requiem with symphonic form in a single continuous movement, moving between the sections of text via linking orchestral episodes. As the work is non-liturgical, Iíve largely avoided building the material from Gregorian plainsong, though allusions to chant inevitably surface as we approach the final In Paradisum (Chorus Angelorum).
Whereas Brahms stepped out of line to use German texts overtly in Ein deutsches Requiem, it may be somewhat ironic that the language I feel drawn back to is Latin, which represents for me the common European language that existed before nationalist barriers were erected. It was the lingua franca used by the European founding fathers, whether in Roman times or in the Church, and provided a source of common identity for a millennium and a half, in international relations, education and the sharing of ideas. Setting texts in Latin may now seem counter-cultural to many, but for me it represents the ideal rediscovering of our common heritage.