theguardian.com
UK Premiere of MacMillan's "Ordo Virtutum": A Modern Morality Play
James MacMillan's "Ordo Virtutum", a contemporary adaptation of Hildegard of Bingen's 12th-century morality play, received its UK premiere by the BBC Singers and National Youth Voices in London, showcasing a blend of complex polyphony, plainchant influences, and amplified speech, reflecting the spiritual conflict depicted in the original work.
- How does MacMillan's composition blend diverse musical elements to reflect the themes of Hildegard of Bingen's morality play?
- MacMillan's work echoes Hildegard's use of plainchant, blending complex polyphony with moments of unison and drone. The composition's spiritual themes are underscored by the use of percussion to anchor the score in ritual, while chromatic textures depict the Soul's struggle with temptation. This blend of musical styles reflects the work's central themes of spiritual conflict and resolution.
- What is the significance of the UK premiere of James MacMillan's "Ordo Virtutum", considering its musical style and source material?
- James MacMillan's "Ordo Virtutum", premiered in the UK by the BBC Singers and National Youth Voices, is a contemporary reimagining of Hildegard of Bingen's 12th-century morality play. The hour-long composition, performed in Leipzig and London, features two eight-part choirs and percussion, creating a rich sonic tapestry.
- What are the potential long-term impacts or critical interpretations of MacMillan's "Ordo Virtutum" on contemporary choral music and religious composition?
- The UK premiere showcased the power and nuance of MacMillan's composition, highlighting the emotional depth of the piece through its evocative musical language. The work's unique blend of medieval influences and contemporary musical techniques creates a powerful and moving experience for the listener. The use of amplified speech for the devil contrasts sharply with the choral singing, increasing the drama and impact.
Cognitive Concepts
Framing Bias
The review is largely positive, framing the performance as a success. The emphasis on the spiritual aspects of the music and the use of evocative language ('numinous tone clusters', 'rapturously upwards', 'breathtaking and glorious') contributes to a generally enthusiastic interpretation. However, the inclusion of the phrase 'moments of chromatic bewilderment' offers a counterpoint, preventing overly simplistic positive framing.
Language Bias
The language used is largely descriptive and evocative, using words like 'rapturously', 'exquisite', 'breathtaking', and 'glorious'. While these terms are positive and contribute to the enthusiastic tone, they are not overtly biased or loaded. The phrase 'chromatic bewilderment' is a subjective descriptor, but it accurately reflects a specific aspect of the musical experience. There are no obvious loaded words or euphemisms.
Bias by Omission
The review focuses primarily on the musical aspects of the performance and does not delve into the broader context of the composer's work or the historical significance of Hildegard of Bingen's original morality play. Information on audience reception or critical response beyond the reviewer's own experience is also absent. While the limited scope may be due to space constraints, the omission of such contextual information might limit the reader's understanding of the piece's overall impact.
Sustainable Development Goals
The performance and composition of James MacMillan's Ordo Virtutum, based on Hildegard of Bingen's morality play, promotes reflection on virtues such as humility, faith, and hope, which are essential for peaceful and just societies. The work's themes of spiritual struggle and the pursuit of good over evil indirectly support the development of strong institutions based on ethical principles.