Rumors had been circulating since early in the week that John McGlinn, the brilliant conductor most well known for his extensive research into and revivals of prewar American musical theater works, had died. I somehow missed the Playbill obituary on Tuesday, but saw the New York Times obit online a few hours ago. Minutes later, a mutual friend called; she was as shocked and saddened as I was to have our worst fears confirmed.

I first encountered John back when I was working at BMG Classics.

I had proposed and compiled a John McCormack CD for RCA Victor that combined Irish-themed popular and theater music sides for Victor Records (using Ward Marston’s amazing transfers from commercial 78s and test pressings, both acoustic and early electric), and figured it wouldn’t hurt to give him a call, as he was not only an impressive conductor but a terrific writer perfectly suited to the artist and program. John, to my surprise, enthusiastically accepted the offer – it turned out he was a huge McCormack fan, and loved the choice of repertoire on the CD. His notes were at once entertaining, informative, and perfectly suited to the nostalgic nature of the release.

It didn’t take long to learn that he and I were both voracious record collectors, admirers of conductors Evgeny Mravinsky and Eugene Ormandy, and Wagner fans. Since that initial minor but gratifying collaboration, we helped each other track down hard-to-find discs and airchecks. We inevitably crossed paths a couple of times a year at Tower Records, Academy Records and more concert venues than I can count. He loved music, as those who had the good fortune to work with him will tell you – and his unabiding passion for music also drove his dogged and revelatory research into the American theater repertoire.

The Times obit only makes passing mention of John’s interest in Wagner, but David Patrick Stearns at the Inky fills in a few more details in his obit. McGlinn had a real knack for not only making the orchestra a “voice” in this music – though never to the detriment of the singers – but a terrific handle on the kind of orchestral balance and transparency that eluded other better-known conductors.