Percussion Concerto No. 2 (MacMillan)

Reviewing the United Kingdom premiere of the Percussion Concert No. 2 with the Philharmonia Orchestra, Tim Ashley of The Guardian lauded the piece and its performer, saying the work "confirms Currie's status as an athlete and a star, as well as an outstanding musician."^[2] Richard Fairman of the Financial Times compared the work to MacMillan's Veni, Veni, Emmanuel, saying, "The new concerto does not have the same bullet-like trajectory as that piece, though it shares a similar high-energy orchestral virtuosity."^[3] John Allison of The Daily Telegraph wrote:

Revelling in exotic sounds like most percussion concertos, the work contains an element of effect without cause, but MacMillan is too skilful a composer for this to weaken its impact. After an opening cry from the full forces, curiously reminiscent of the visceral Agamemnon motif in Strauss's Elektra and a musical signpost that recurs at key moments throughout this new score, the music takes off with quickly building kinetic energy. The solo part – played with utmost virtuosity by Currie – is chased by orchestral interjections until in the ruminating middle section of this single-movement, 25-minute work the music finds room to breathe. Here a lush string tune is decorated by tuned cowbells before the soloist moves to a steel drum to make chamber music with piano, harp, flutes, double basses and a solo viola's jagged lines.^[4]

Reviewing the United States premiere of the piece at the Cabrillo Festival of Contemporary Music, Georgia Rowe of the San Jose Mercury News also praised the work, saying it "gave the orchestra a workout." He added, "Cast in a single movement, it's a high-energy work that employs an even larger orchestra than MacMillan's first percussion concerto, Veni, Veni Emmanuel. The writing is distinctive — bows hitting strings, brass blaring, a growling bassoon. Toward the end of the piece, a gentle hymn emerges from the fray."^[5]

• List of compositions by James MacMillan