I fancied listening to some of the late John McCabe’s music, so I chose EMI CDM 5671202 (which if still available is now on Warner Classics), a CD compilation of superb pieces in recordings from the mid-seventies: The Chagall Windows, Hallé/James Loughran (also on the LPO label. Bernard Haitink conducting), and, with CBSO/Louis Frémaux, Notturni ed Alba (featuring Jill Gomez, soprano) & Symphony No.2.
It proved to be a compelling seventy-five minutes’ worth: music that is strongly inventive and thought-through, suggestive and colourful, as well as beautifully crafted and, in these instances, skilfully orchestrated.
John McCabe (born in Huyton on 21 April 1939 and who died on 13 February 2015) was not only a consummate composer but also a gifted pianist (as heard in his stellar recordings of Haydn, Grieg and Nielsen, for examples) and, writing as someone who got to know him a little bit at concerts for a momentary chat, I recall John as a softly-spoken and friendly gentleman. I also remember a masterclass he gave, centered on one of his pieces, when he was the epitome of kindness to, and illuminating insight for, the young pianists.
John was the loveliest and most modest of men, always seeking to encourage younger pianists in their quest for repertoire of integrity and worth. His own body of piano music is fabulous, especially the extended Haydn Variations, but best of all perhaps is ‘Tenebrae’ – an extended and darkly engaging reflection on mortality.
John McCabe was indeed a kind, generous gentleman. I’m not sure that we ever actually met – but in my young days I had cause to be grateful to him twice. Firstly, when, in one of the Sunday broadsheets, he flatteringly singled out some words I’d written about Xenakis for the LSO. Secondly, when he laid down his Records & Recording pen, around 1971-72, and all his Russian and Soviet repertory was passed on to me to review – for the better part of a decade. Not perhaps life-changing (it was a scene I was already well into albeit without a platform to speak of), but certainly life-determining in the sense of knowledge gained and musicians encountered – still going strong.
I have fond memories of John and admired him both as a composer and as a pianist. Above all, I remember him for his warmth and his quiet but sparkling humour. Paul Arden-Taylor and I were fortunate to record him in John Joubert’s three Piano Sonatas and his playing was a revelation. It combined utter precision with that instinctive understanding of the music and a flexibility of rhythm which can never be taught. He was also a wonderful communicator. Listen, if you can, to some of his Grieg Slåtter and Stimmungen or the complete Nielsen Piano Music. He brings to them the same sense of discovery and commitment as to everything else he played. He compels you to listen.
I hope I can be forgiven for quoting below a review by Andrew Achenbach which says it all.
“John McCabe was a lifelong admirer of Grieg and particularly smitten with his deeply personal reworkings of Norwegian hardanger-fiddle tunes that were published in 1902 under the title of Slåtter. A pungently characterful, often harmonically bracing 39-minute sequence they comprise, too, and they’re preceded here by Stimmungen (Moods), a set of seven pieces in the mould of the Lyric Pieces that likewise contain much to ignite the imagination (try the thrillingly exuberant outer portions of No 3, ‘Night Ride’). McCabe’s perceptive readings of this uncommonly rewarding repertoire are irresistible in their combination of scrupulous refinement, recreative spark and infectious commitment – what a fine pianist he was! Apparently, the 1978 master-tapes were on their last legs, so plaudits to Martin Nichols and Paul Arden-Taylor for such a superb restoration, the enticing analogue glow of Robert Auger’s admirable original production for RCA left mercifully intact. Somm’s first-class, helpfully detailed presentation is a further bonus. This is a hugely enjoyable reissue, and I recommend it without reservation”
–Andrew Achenbach (Classical Ear, 11 January 2016)
John was such a wonderful composer and pianist, but also had an encyclopedic knowledge of so much much repertoire. He was a very good friend to both me personally and to the Presteigne Festival for many years and I had the pleasure of conducting several of his works for CD. It is important to keep John’s name alive – I really miss chatting to him on the telephone – he was always talking about other people’s music, never his own – typical of his self-effaciveness.
Thank you all. You brought tears to my eyes. Especially heart-warming just at present, when I seem to be going through a traumatic time with household problems.
George – especially for you – do you remember my asking you about a little piece John apparently wrote as a tribute to you (was it a birthday?) some long time ago. It was just a 2-page little piece, called Caprice for George. Well, I’m trying to get John’s m/ss in some sort of protection and order, in plastic boxes, and yesterday I came across it. It does exist….
Thank you all once again
Such a wonderful composer and a lovely man who is very much missed. I just don’t understand why the pieces you mention are not heard in the concert hall – along with much else of course ! Chagall / Notturni are or should be key pieces in the orchestral repertoire.
John was one of those very rare figures in the music world – an alpha plus musician who excelled in so many fields. He was one of the most compelling writers on music whose prose was simple, compelling yet full of revelations. I still return continually to his BBC Music Guide on Haydn Sonatas which I still feel is one of the finest books ever written about Haydn. He was a pianist of great stature, and his performances were direct, free of self conscious mannerisms, faithful to the score yet still overflowing with insight, imagination and flair.
John was a major composer by any standard and one of the most important of his generation who never received the acclaim that he deserved. We all have our particular favourites. But one thing for certain is that we desperately need to hear his music more these days. My 4th Symphony was written as a tribute to John.