A number of changes in John Beall’s life and profession molded his path from being a Texas boy to becoming a well-known composer worldwide. Beall was brought up in Belton and Beaumont, Texas, as the son of a Baptist preacher, and was exposed to hymns and classical music during his formative years, which helped establish his lifelong love of music. His proficiency in the piano, double bass, and cello, along with his remarkable understanding of their literature, demonstrated his musical ability. During his early years, he was greatly influenced by sacred hymns and choral compositions, which complemented his early inspirations.
After his undergraduate and master’s studies at Baylor University, a leading church-related institution, Beall’s musical journey took a significant detour. He served four years in the United States Air Force, a period that, while not directly related to his musical aspirations, played a pivotal role in broadening his life experiences. Following his military service, he pursued advanced studies at the prestigious Eastman School of Music, where he received a Ph.D. in 1973 from the University of Rochester’s Eastman School of Music. Under the guidance of influential composers like Samuel Adler at Eastman and Richard Willis and Charles Eakin at Baylor, Beall honed his compositional skills. During this time, he was recognized with Eastman’s top composition honors, including the Louis Lane Prize and the Howard Hanson Prize. These accolades affirmed his potential as a composer and set the stage for his future endeavors.
John Beall’s personal life was intertwined with his musical journey. In 1967, he married Carol Jean Allen, a fellow pianist and classmate from Baylor. Carol became a key figure in Beall’s creative life, often performing his chamber and solo piano works. Their shared passion for music extended to their children, Katherine and Stephen, who pursued artistic and musical careers, respectively. This familial connection to the arts further enriched Beall’s creative environment, providing him with both inspiration and a supportive network.
Beall began his professional career in academia with early appointments to Southwest Texas State University and Eastern Illinois University. During these years, the twelve-tone serial idiom—a method that was popular among his contemporaries—had a significant influence on his composing approach. But Beall approached this genre in a different way; he distinguished himself from the more literal interpretations of serialism by concentrating on crafting singable melodies.
A pivotal moment in his career was his composition of the Sextet for Piano and Winds in 1976. Beall’s increasing interest in fusing existing material into his creations was evident when the piece used the gospel tune “Amazing Grace” in a variation set.
This shift toward a more tonally centered and emotionally resonant style continued to evolve throughout Beall’s career. After relocating to West Virginia in 1978, where he served as Composer in Residence at West Virginia University, Beall’s work began to reflect the cultural and natural beauty of his new surroundings. Inspired by the Appalachian region’s folk music and scenic landscapes, he incorporated these elements into his compositions. His 1981 work, On Chestnut Ridge, was one of the earliest examples of his Appalachian influence, drawing on folk songs such as Fair Charlotte and Lover’s Lament. Beall’s growing connection to Appalachian culture and music was further nurtured by his relationship with the late Patrick Gainer, a professor of English at WVU whose book Folksongs from the West Virginia Hills opened up a new world of folk material for Beall to explore.
Throughout the 1980s and 1990s, Beall continued to blend Appalachian folk tunes and hymns into his classical compositions, a reflection of his belief in the emotional power of these melodies. Works like Mountain Music (1987), which incorporated the hymn Am I a Soldier of the Cross, and his Cello Sonata (1984), which used Softly and Tenderly Jesus is Calling, exemplified this integration. His operatic work Ethan Frome (1997) and his Symphony No. 2 (2003), titled Spruce Knob, further solidified his reputation as a composer who skillfully bridged the gap between folk traditions and classical music. Apart from his compositions he actively taught at The Interlochen Center for the Arts in Michigan for thirteen summers (1992-2004). Majorly Beall’s stopovers at Rockefeller Center at Bellagio, Italy, on Lake Como (January-February, 1985) and Yaddo, Saratoga Springs, NY (March-April, 1985) were an important fragment of his life, where he started off writing his first symphonies.
Due to his early exposure to hymns, his academic background, and his strong ties to Appalachian culture, John Beall’s music has found a home with listeners all around the world. His works have been played on five continents and aired on major radio stations, garnering him praise from critics and awards such as the ASCAP Serious Music Award, which has been given to him from 1979 until 2014. In 1990, John Beall was honored with the prestigious Benedum Foundation Award as a Bendedum Distinguished Scholar in the Humanities and Performing Arts, an accolade awarded by West Virginia University. This recognition marked only the second time the award had been given to a member of the arts faculty at WVU. The award ceremony featured a speech by Beall, accompanied by a concert showcasing his original music. The event, introduced by Dr. Christopher Wilkinson, now Professor of Music Emeritus at WVU, highlighted Beall’s significant contributions to the field. The award not only celebrated Beall’s artistic achievements but also included a cash prize, underscoring the impact of his work in the humanities and performing arts.
John Beall’s enthusiasm for music endures even after he retired from full-time teaching in 2014. His love of composition is ageless. Having been named Professor Emeritus of Music, Beall’s inventiveness never wanes as he continues to produce a large number of new pieces. His efforts to hone his technique are evident in compositions like String Quartet #4 and the Trio for Violin, Horn, and Piano (2015). Beall has ventured into new territory with a second piano concerto and other orchestral compositions, while also returning to older pieces such as his orchestral poem Autumn Fire.
Beall’s unwavering ties to his profession and community are demonstrated by his dedication to both local teaching and the Episcopal Church. As an octogenarian, Beall’s unwavering passion for composition continues to inspire, blending the wisdom of experience with a lifelong dedication to the transformative power of music.