Grace Notes

Musician Profile: John McKean, Harpsichordist and Musicologist

JO SHUTE

If you attended October’s “Baroque Celebrations” concert, you probably saw John McKean “toggle” between the harpsichord and the organ, seemingly effortlessly.  This is no mean feat!  John has performed with Upper Valley Baroque in most of our concerts since our first in December 2021, bringing the harpsichord he built himself or playing on the portativo organ built by Vermont-based David Moore.

In Baroque music, the keyboard (harpsichord or organ) part is usually written as a figured bass/basso continuo, so the musician has to add chords and ornamentation.  John often uses the full score so he can collaborate more fully with soloists, small ensembles, and the full orchestra.

In the upcoming Bach’s Brandenburg Concertos concert, John plays in all six concerti, and he has a particularly virtuosic solo in one. “Brandenburg Concerto # 5 is one of the most significant works in the harpsichord repertoire, celebrated for elevating the instrument from its traditional role in the continuo section to that of a featured soloist,” says John. 

“In this groundbreaking work, Bach provides the harpsichord with a fully written-out solo part, culminating in the iconic first-movement cadenza. Beginning with material from the main theme, the cadenza unfolds into a virtuosic fantasia, filled with cascading 32nd-note runs and striking diminished harmonies, before resolving triumphantly as the orchestra reenters with the final ritornello. That transition—from the solo’s unrestrained brilliance back into the ensemble—is a moment I always look forward to in performance.”

John has seen the growth of Upper Valley Baroque since the beginning. “Bach’s music has been central to my life as a musician, and Brandenburg Concerto #5 has long been a defining piece for me. I first performed an excerpt of this concerto as a teenager in my high school talent show, and over the years, I’ve had the privilege of performing the complete work many times with various ensembles. My collaborations with UVB under Maestro Ciabatti’s inspired leadership over the past years have been deeply rewarding, but this performance will hold particular significance for me as I step out of my usual continuo role to engage with the orchestra as a soloist. Revisiting this masterpiece with such a remarkable ensemble is both an honor and an exciting next chapter in my lifelong connection to this extraordinary concerto.” 

John McKean has an impressive bio, reflective of his multiple talents and interests. Based in Boston, he serves on the faculty of the Historical Performance Department at the Longy School of Music of Bard College. Frequently in demand as both a soloist and continuo player, he has performed extensively throughout Europe and North America.

John holds degrees in German Studies and Harpsichord Performance from Oberlin College/Conservatory and an advanced performance diploma from the Hochschule für Musik Freiburg (Germany.  He received additional instruction over the years from some of the greatest modern masters of historical keyboards.  He also holds an M.Phil. and a Ph.D. in historical musicology from the University of Cambridge (U.K). 

Beyond his musicological work and performing career, he also maintains an active interest in instrument building (he regularly performs on a 17th-century style Flemish harpsichord of his own making), music publishing, typography, and exploring the remote corners of his home state of Maine.