34 MONTEREY COUNTY WEEKLY May 23-29, 2024 www.montereycountynow.com FACE TO FACE Imagine having altered senses like being able to taste colors or listen to the scent of a flower. Or in John Wineglass’ case, being able to see music. Wineglass has a condition called synesthesia, which allows him to associate colors with tonal modalities. Those colors were what got him into music and, fittingly, the first composition he wrote is titled “The Rainbow Song.” With this natural ability, he began taking music lessons at age 5, moving from the flute to the clarinet to the violin, before finally landing on the viola. When Wineglass developed tendonitis from practicing nearly six hours per day, he began composing. Initially attending American University as a double major in business and music, Wineglass honed those skills. And being a prodigy living a stone’s throw from Pennsylvania Avenue, he was eventually invited to play at the White House on several occasions. Music continued to reign supreme in his life, even while attempting an MBA at Johns Hopkins University, where he eventually dropped out to pursue arts and film studies at NYU. And while working on music for hit television shows in New York is cool and all, Big Sur inspired his eponymous symphonic composition in 2016. That piece expresses his connection to the area. Wineglass is now Monterey Symphony’s composer-in-residence and a professor of music at CSU Monterey Bay. Weekly: What about Big Sur led to this composition? Wineglass: It’s a piece based on natural beauty. The Big Sur Land Trust lets me use a ranch. There’s no internet, no TV, no phones, no nothing. So you’re there in seclusion. When I got down there, I learned that the Trail of Tears [the forced relocation of southeastern tribes to Oklahoma in the 1830s] led all the way to the Pacific Ocean. I had no idea about that. That began my pilgrimage into understanding the Esselen Tribe, the Ohlone-Costanoan tribes and that whole story. I asked myself, “How do I codify that in this piece I’m writing about?” I have to tell the real story. The piece is a collage of tragedy and beauty. How does that translate to the music? It contains four soloists in the symphonic version and the outlying movements are basically the four prayers that Native Americans offer to their land. I have two versions, one being a string quartet because we wanted to take this piece and make it mobile. Then there is the actual string orchestra version that includes a 7-foot drum from a fallen redwood tree. I first heard excerpts from that piece at the Monterey Symphony’s Love Letter series a few years ago. That was an amazing performance. To be outside when it was warm, with the sunset, made it just epic. The piece is different every time. The soloists are improvising, making it a magical moment. What else about Big Sur inspired this piece of music? The outlier movements are dedicated to the Native Americans. Just like the four winds, I bookended the piece with the prayers—one in the beginning and one in the end. The movements in between are an homage to Big Sur. One movement is called “Mystery of the Night Sun,” which is what the Native Americans refer to the moon at night. The second movement is called “Rushing Waters,” and opens the listener to the loveliness of the crashing waves along the California coastline. Then the next movements are called “Pfeiffer Beach” and, penultimately, “The Return,” inspired by reading at Deetjen’s and the writings of Robinson Jeffers. What was special and important about bringing in Native American soloists? Only one soloist is Native American—I made it so that one is required. The four represent the four winds, and that part of it is to pay homage to the native land. How much of a learning experience was it for you to write this composition? Oh, it was huge. I was aware of the Native American story when I was on the East Coast, but I was not aware of it here. I have another piece, “Voices of the West,” which is about the establishment of San Bernardino and the wipeout of the tribes that were there. The interesting thing is that it helped me tell my own story and my heritage as well. It prepared me for the atrocities of my own story—of slavery. I tell Tom Little Bear [chairman of the Esselen Tribe of Monterey County] that all the time. Symphonic Offering Composer John Wineglass paid homage to Indigenous heritage, helping him understand his own story. By Sloan Campi John Wineglass first started touring the world as an 11-year-old in a youth orchestra, playing before audiences in China, the former Soviet Union and elsewhere. NIK BLASKOVICH WE ARE HIRING! Golden Oldies is looking to hire a full-time salaried Executive Director. 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