Sir James MacMillan finds ‘the spiritual in music’

Conrad Grebel University College hosted Sir James MacMillan as the 2016 Rodney and Lorna Sawatsky Visiting Scholar. The Scottish composer and conductor, best known for his sacred choral works, gave his Sawatsky Lecture address, “The spiritual in music,” on March 1, 2016.

An eloquent—and occasionally humorous—speaker, MacMillan drew on a vast range of references, both musical and literary, to explore the relationship between the spiritual and the arts. An overarching theme of the lecture was the place of religious works in an increasingly secularized culture, and the question of whether using material rooted in religion limits the scope of the work or hinders innovation in the art form.

MacMillan argued against this view, quoting poet Michael Symmons Roberts that “the relationship between creative freedom and religious belief is far from limiting.”

An example of this was English poet William Blake. MacMillan spoke of Blake’s work and the criticism of it from other writers, such as T. S. Eliot, who believed that Blake’s rejection of tradition and the invention of his own religious ideas “was a distraction from the vocation of writing original poetry.” Quoting Eliot, MacMillan said, “The concentration resulting from a framework of mythology and theology and philosophy is one of the reasons why Dante is a classic, and Blake only a poet of genius.”

MacMillan went on to discuss the current culture in which the religious framework is often rejected, citing English composer Edward Elgar. MacMillan spoke of the frequent downplaying of Elgar’s religious beliefs and the public’s anxiety in acknowledging his Catholic upbringing in order for his music to be more palatable and “safe” for British audiences.

MacMillan made several references to the spiritual nature of music by 20th-century composers such as John Cage, particularly his famous 4’ 33”. This piece, in which performers are instructed to not play their instruments and let there be four minutes and thirty-three seconds of silence, was originally called “Silent Prayer.” Although it can sometimes be hard to identify in more modern, experimental music, many of the last century’s composers never gave up their “search for the sacred,” he said.

MacMillan concluded by highlighting parallels between music and spirituality. Music, which many refer to as the most spiritual of the art forms, can have transformative powers and has the ability to change people’s lives, he said.

MacMillan welcomed questions from the audience after the lecture, which prompted the discussion of topics such as the frequently reported death of classical music; the relationship between ethics, morality and classical music; and even the problematic term “classical” music itself.

In addition to his lecture, MacMillan met with faculty and students, and spent much of his time in rehearsals with the University of Waterloo Chamber Choir, the Grand Philharmonic Choir, and Choir 21. The week culminated in a joint concert with these groups featuring MacMillan’s music, conducted by MacMillan himself.

The Rodney and Lorna Sawatsky Visiting Scholar Lecture was established in 2004 to honour Rodney’s tenure and Lorna’s involvement at Grebel.

Nicole Simone is a fourth-year student pursuing a joint honours major in music and systems design engineering at the University of Waterloo and Conrad Grebel University College.