Page 171 - FINAL_The Sixteen Coverage Book 40th Anniversary Year

“In terms of basic values and principles, we’re probably pretty similar,” he says of
MacMillan. “The Holy Spirit is not so well understood, but it is what we live with
in our lives, and an important part of our faith.

“So yes, there is an evangelical purpose in my commissioning new works for new
audiences. You can’t tell people to go to church, or re-educate their children, but

by using really beautiful music you can share something with audiences.”

Studzinski points out that the Stabat Mater, which was performed in the Sistine
Chapel in Rome and relayed around the world, struck a chord because of the

correlation between its subject matter and the plights of mothers and children in
Afghanistan and Syria. He hopes something similar will happen with

understanding of the more difficult Christian concept of the Holy Spirit.

That, he adds candidly, is why it is part of his method to occasionally talk to the
press and media.

“The best conversation I had with James was fifteen years ago, when we talked
about ‘channelling the Divine’. It is God that chooses people to be a conduit, not
you that is ‘good’.”

The philanthropist’s exploration of his own faith is an ongoing process, and one
that both MacMillan and Christophers can expect to continue to hear more about.
Inspired by an Old Testament text he had come across in his recent Bible reading,

he called the director of The Sixteen to ask if he knew of any settings of it and
then promptly commissioned a young composer to have a go.

Another new enthusiasm is podcasts, with MacMillan signed up to contribute to
an early one in conversation with the Archbishop of Westminster, Vincent
Nichols.

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