Delve into the intricate and fascinating world of contemporary classical music with composer John Mcginn, featured on the album “BOWED COLORS.” This album showcases a selection of solo viola pieces, performed by violist Peter Sulski, highlighting the diverse landscape of modern composition, ranging from neoclassical influences to more abstract tonal explorations. McGinn’s piece, Capriciously Strung, stands out as a vibrant exploration of the viola’s expressive capabilities, moving from playful whimsy to powerful intensity and moments of quiet eloquence.
John McGinn’s journey into the world of music began in childhood, sparked by a family piano and a boundless curiosity. He recalls the pivotal moment at just under seven years old when his family acquired their first piano. While his sister’s interest in lessons waned, McGinn was immediately captivated. This early fascination quickly evolved beyond simple lessons. He describes a formative experience shortly after starting piano, when a gift of manuscript paper ignited his compositional spark. He eagerly filled pages with musical notes, initially nonsensical, but soon evolving into coherent melodies, including a two-bar phrase inspired by a cartoon. This small melody marked a turning point, leading to original musical ideas and a childhood declaration to his friend Scott: “I was going to ‘be a composer.'” This early ambition has remained a constant guiding force throughout his life.
His early artistic development was significantly shaped by exposure to classical music. McGinn recounts being deeply influenced by the Walt Disney Presents The Great Composers record set, which introduced him to the foundational figures of classical music. He was particularly enthralled by Bach, and the entire world of orchestral sound that opened up to him. This early passion deepened when, at the age of nine, he received a score of Beethoven’s complete string quartets and recordings of the middle quartets. He immersed himself in these works, captivated by their complexity and emotional depth. Further fueling his passion, his piano teacher, Elinor Armer, introduced him to Mozart’s Symphony No. 35, his first experience with an orchestral score. This encounter solidified his path, and he describes it as the definitive moment of realization that music composition was his calling.
Formal study with composer John Adams at the San Francisco Conservatory of Music further broadened his musical horizons. McGinn immersed himself in classical scores, exploring various stylistic phases in his own compositions, experimenting with echoes of Bizet, Debussy, Bartok, and even Keith Jarrett. He refined his skills at summer workshops like the Walden School, the BUTI Tanglewood Institute, and later at Harvard. Reflecting on his early works, McGinn notes that these imitative phases, initially seen as “not quite” achieving the styles of his idols, ultimately contributed to the development of his unique compositional voice. He realized that these diverse influences had coalesced into something distinctly his own.
An unconventional composing experience during his time at the Tanglewood Music Center in 1985 proved to be a pivotal moment in McGinn’s artistic journey. Struggling with a piano trio under the guidance of Leon Kirchner, he reached a point of creative frustration. In a moment of cathartic release, he spontaneously began improvising at the piano, hammering out chaotic chords. Surprisingly, this act of frustration evolved into an extended improvisation session lasting nearly two hours. During this time, ideas, textures, and musical gestures flowed freely, seemingly without conscious direction. McGinn describes this experience as transformative, revealing unfamiliar musical territory and a sense of spontaneity and originality that surpassed his consciously composed works. This event opened a “new musical door,” sparking a lasting fascination with free improvisation.
Since that transformative afternoon, improvisation has become an integral part of McGinn’s musical life, alongside traditional composition and performance. Technological advancements, from cassette tapes to MIDI software, have aided his exploration of spontaneous musical creation, allowing him to capture, transcribe, and analyze his improvisations. A central question driving his work has been the potential to merge the freedom of improvisation with the structure of deliberate composition. He has made significant progress in this area, creating fully notated compositions based on transcribed improvisations, such as Without a Net and two sets of solo piano Preludes. In these works, he treats improvisational passages as raw material, developing and integrating them with other musical elements to create pieces that feel both spontaneous and carefully crafted. Capriciously Strung holds a special place in this exploration, as it marks the first instance where McGinn consciously incorporated an improvisational passage into a meticulously composed piece. He invites listeners to engage with the work and try to identify this moment of spontaneous insertion. The title Capriciously Strung itself reflects the piece’s playful and varied nature, showcasing a range of moods, textures, and interactions within the viola and piano duo. McGinn draws a parallel to Mozart’s concept of “il filo,” the unifying thread that connects contrasting musical ideas, and describes his own efforts to achieve this sense of unity within the diverse elements of Capriciously Strung.
Reflecting on his career path, McGinn recounts facing questions about his choice to pursue music. His answer was always clear: he could not envision a fulfilling life doing anything else. Through perseverance and fortunate opportunities, he has built a vibrant and multifaceted career. A pivotal early experience involved a last-minute call from John Adams to perform in a preview of Nixon in China. This led to numerous performances of the opera, including the Grammy-winning recording. His career expanded to include performances with the Kennedy Center Orchestra and contemporary ensembles, as well as creating piano-vocal scores for Adams’ works. While he has considered positions at a record label and a European opera house, McGinn found his true calling in academia. An epiphany led him to realize that a university professorship would allow him to combine his passions for teaching, scholarship (through composing and performing), and service. He describes his subsequent two decades teaching at Clark University and Austin College as a “vibrant, productive, joyous, enriching journey.” It was at Clark University that he met Peter Sulski, leading to the commission of Capriciously Strung. McGinn expresses deep gratitude for the path his life and career have taken.
For John McGinn, the “BOWED COLORS” album is a testament to the dedication and artistry of those who bring musical visions to life. He expresses immense appreciation for Peter Sulski and Randall Hodgkinson’s commitment to Capriciously Strung and the entire album. He also acknowledges the faith and support of Brandon MacNeil and Bob Lord at PARMA Recordings, as well as the contributions of the production, recording, editing, design, and publicity teams. Finally, he extends heartfelt gratitude to Roger Sanders, whose generous support made his participation in the album possible. “BOWED COLORS,” for McGinn, represents a collaborative effort to share meaningful music with a wider audience, and he expresses hope that listeners will find themselves moved and delighted by this project.
