James MacMillan’s distinctive musical language contains elements drawn from the heartfelt melodic gestures of Celtic folk music, the grace of Gregorian chant and the transcendent power of congregational singing. It is impossible to decouple his art, often complex yet always accessible, from his profound faith in God, his devotion as a Roman Catholic and his deep concern and reverence for the oppressed. Those interlocking themes run through substantial works for chorus and orchestra, among them the St. John Passion (2007), St. Luke Passion (2012-13), Stabat Mater (2015) and Symphony No.5 “Le grand inconnu” (2018), a haunting meditation on the Holy Spirit. They likewise find eloquent expression in the a cappella choir pieces “O Radiant Dawn” (2007), “Miserere” (2009) and “Nothing in Vain” (2021). MacMillan, born in Scotland in 1959, absorbed early influences from composers such as Lutosławski, Penderecki and Birtwistle, and gradually wove them into a more inclusive style of music. His breakthrough came with “The Confession of Isobel Gowdie” (1990) and percussion concerto for Evelyn Glennie, “Veni, Veni Emmanuel” (1992), which led in turn to a steady flow of commissions in the UK and overseas. While his music unlocks strong emotions, it also leads listeners towards spiritual states, arising from stillness and quiet contemplation. He has achieved this all-embracing balance not only in his large output of works for chamber choir or symphonic chorus, but also in such orchestral scores as the monumental triptych “Triduum” (1995-97), “Í (A Meditation On Iona)” (1996) and “Symphony No.3, 'Silence'” (2002).