‘Transubstantiated into the musical…’ : a critical exegesis on metaphor and actuality in James MacMillan’s Veni Veni Emmanuel

McGregor, Richard ORCID logo ORCID: https://orcid.org/0000-0001-6685-2589 (2007) ‘Transubstantiated into the musical…’ : a critical exegesis on metaphor and actuality in James MacMillan’s Veni Veni Emmanuel. In: Hair, Graham, (ed.) A companion to recent Scottish music: 1950 to the present. The Musica Scotica Trust, Glasgow, Scotland, pp. 21-43.

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Veni Veni Emmanuel was composed in 1991/92 and written to a commission from Christian Salvesen PLC for the percussionist Evelyn Glennie and the Scottish Chamber Orchestra. It was first premiered in [1992] and has remained one of the composers’ most performed works. Although it is usually described as a percussion concerto, it is perhaps more properly to be thought of as a work for percussionist and orchestra, rather than as a concerto in the strictest sense. This ‘re-orientation’ will be explored further at the end of this article after consideration of the various structural thematic and harmonic components that make up the work and the compositional processes that created them.

Item Type: Book Section
Publisher: The Musica Scotica Trust
ISBN: 087659876X
Departments: Academic Departments > Institute of Education (IOE) > Secondary PGCE
Additional Information: Originally presented as a paper at the Musica Scotia 2006 Edinburgh Conference. This item has been deposited with kind permission from Musica Scotica. A Powerpoint is available for this lecture and can be obtained for personal use on application to the respective author.
Depositing User: Insight Administrator
Date Deposited: 28 May 2010 11:36
Last Modified: 11 Jan 2024 19:45
URI: https://insight.cumbria.ac.uk/id/eprint/143


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