John Blackwood McEwen: “Rising Young Composer”

Scottish composer John Blackwood McEwen (1868-1948) is rather like the district of Galloway in Scotland - an undiscovered country. Most folk hurry through heading for the Highlands. Both deserve to be much better known. Born in the Border town of Hawick on 13 April 1868, he studied at Glasgow University, gaining an M.A. McEwen had an interest in singing - he was choirmaster at St James' Free Church in Glasgow and subsequently Lanark Parish Church. He had a period of training with the great names of the day, at the Royal Academy of Music: Ebenezer Prout, Tobias Matthay and Frederick Corder. In 1893 McEwen returned to Scotland and became choirmaster at South Parish Church in Greenock. He taught piano, harmony and composition at the Athenaeum School of Music in Glasgow.

Five years later, he headed back down South where he joined the staff at the Royal Academy of Music as a professor of harmony and composition. McEwen later became Principal of that organisation in 1924, succeeding Sir Alexander Campbell Mackenzie. He received a knighthood in 1931. John Blackwood McEwen died on 14 June 1948.

McEwen’s best-known orchestral work is almost certainly his Solway Symphony: it was revived by Chandos in 1995. He also wrote a fine series of tone poems, including Grey Galloway and Coronach. However, it is McEwen’s chamber music that best epitomises his musical style and achievement. Of a very large catalogue, the nineteen string quartets are the bedrock.

On 1 October 1922 (p.651) a short letter appeared in the Musical Times. It is self-explanatory – after a fashion:

Sir,

It was with particular pleasure that I read on a weekly contemporary that one of the most gratifying features of the Royal Academy of Music Centenary celebrations was the brilliant promise shown by that 'rising young composer, J. B. McEwen,' and that his Quartet Biscay was one of the most notable of works heard during the fortnight. It is a pity that all our rising composers do not receive such encouragement at the proper time.

Yours, &c., A.K. (possibly a certain A Keay).

The following month (Musical Times, October 1922, p.726) the 54 year old composer and Professor of harmony and composition at the Royal Academy of Music gave his witty reply:

Sir,

Musical opinion in this country groups the native composer into two categories: ‘The Promising Young Composer' and the 'Old Fogey'- the 'May-be' and the 'Has-been.' There does not seem to be any intermediate stage, and one never knows when exactly he makes transition from the one to the other.

Twenty-five years ago I was told that I belonged to the first of these; and I had believed that I had long since been promoted- or reduced- to the other. However, I am glad to see that in the opinion of your weekly contemporary, quoted by 'A. K.' in this month's Musical Times, I am still to be regarded as vociferating a promise which the expiry of a quarter of a century has not stifled, even if it has not succeeded in bringing it to fruition.

Yours, &c., Royal Academy of Music. 

John B. McEwen. September 12, 1922.