photo: John Batten
photo: John Batten
Who or what inspired you to take up piano, and pursue a career in music?
I gravitated quite instinctively towards the little cottage upright piano which we had at home when I was a child. Neither of my parents are musicians – vicar and teacher respectively – but both love music and encouraged my earliest fumbling attempts at the keyboard!
There was never an actual moment when I decided to pursue a career in music. It all happened very organically from the earliest lessons with a Hampshire County Award teacher followed by a place at the inspirational Yehudi Menuhin School and then onto the Royal College of Music. I’ve never had any real doubts or regrets about following the musical path
Who or what have been the most important influences on your musical life and career?
Two exceptional pianists have guided my playing and approach to the piano and music making in general:
The wonderful Russian pedagogue Irina Zaritskaya taught me at the RCM in the early 1990s. She revealed and shared her special secrets into achieving pianistic fluency, a huge variety of touches and rich musical imagery. Her warm personality coupled with a generosity of spirit are qualities I remember and treasure.
I later had the privilege of working closely with Imogen Cooper on a wide range of repertoire. Imogen’s focus, intellect and sheer intensity of listening are truly exceptional. She demanded a greater sense of ‘digging deep’ into the scores, really focusing on long lines, balance of sound, projection, colour and style. All of the qualities that make her own playing so memorable and remarkable’
What have been the greatest challenges of your career so far?
For me these are threefold:
Studying, developing and maintaining a huge range of music is a challenge for the vast majority of pianists. Tackling certain epic works such as Bach’s ‘Goldberg Variations’ or Brahms’ 2nd Piano Concerto stand out in my mind as particularly demanding but immensely rewarding experiences.
The ability to cope with long journeys, strange environments and a wide range of different instruments, whilst always aiming to deliver the best performances is a perennial challenge!
Keeping a sense of long term perspective in one’s aims as a musician. Managing leaner times, dealing with difficult aspects of the music profession, remaining motivated and hopeful whilst keeping the flickering flame of that essential love of music alive and well’
You’ve recently announced the London Piano Festival with your duo partner Katya Apekisheva. Why did you decide to found this festival?
Katya and I have both attended many excellent festivals where various instrumentalists gather together to play chamber music. In 2011 we were invited to the New Ross Piano Festival in Ireland where the focus was almost exclusively on pianists performing in solo and duo capacities. The atmosphere, camaraderie and sheer quality of the concerts there were very special indeed.
After this positive experience, we decided to create something similar in the UK and were thrilled when Kings Place in London, with their pair of vibrant, contemporary concert halls, enthusiastically took up our idea. Pianists are destined by the very nature of the instrument to be solitary creatures. We hope to change all that for one dazzling weekend in October!
What are you most looking forward to in the London Piano Festival?
The Two-Piano Gala on the evening of Saturday, October 7th!
This mammoth concert will see the two Kings Place Steinway pianos placed together for an evening of piano duo music drawn almost exclusively from the Twentieth Century repertoire. Seven pianists including Stephen Kovacevich, the doyen of current players, will join forces in various duo formations to explore the riches, complexities and excitement of music for two pianos. Rachmaninoff, Ravel and a world premiere by the superb American composer Nico Muhly, will all be on the menu.
Which performance/recordings are you most proud of?
It is difficult to be truly proud of any particular performance or recording as so many aspects can always be improved upon.
Having said that, certain concerts where all the elements seem to combine do remain in my memory. Recent positive concert experiences include a Wigmore Hall performance of the Brahms Piano Quintet with the Takács Quartet, the Beethoven concertos at the magical St Endellion Summer Festival in Cornwall and a concert from last summer’s Ryedale Festival where I played the Goldberg Variations to a rapt, packed audience in one of Yorkshire’s grandest stately homes.
In terms of recordings, my have fond memories of a beautiful September weekend in Barnes when I recorded a solo Poulenc disc at St Paul’s School with super views across the Thames. I had just met my partner and was ‘walking on air’ at the time of the sessions. All that was back in 2003!
Which particular works do you think you play best?
Another impossibly embarrassing question! If forced to answer, I would mention the Debussy Preludes, Bach Partitas, some of the big Schubert sonatas and of course my beloved Janáček.
How do you make your repertoire choices from season to season?
I am not one of those musicians who has a clear plan for their whole playing career in terms of repertoire. Perhaps I should try to be!
I gravitate towards certain composers and their works rather as you may pick up a book from your packed library shelves. There is a little bit of divination going on here.
My aim is to constantly learn new works, to react to the suggestions of others and to regularly revisit pieces from earlier in life. Returning to these with new experiences and musical knowledge is one of the best aspects of being a full time musician. I’m becoming increasingly interested in contemporary music and feel excited to have recently worked with/recorded music by Jonathan Dove, James Macmillan and Nico Muhly
Do you have a favourite concert venue to perform in and why?
The Wigmore Hall for its sublime acoustics, stunning pianos and sheer history
Favourite pieces to perform? Listen to?
Concerto wise, I love to perform any of the five Beethoven, also the Schumann and Bartok’s 3rd. Plenty of two piano works are a thrill to play, particularly Ravel’s La Valse and the Rachmaninoff Suites. As a listener my list is utterly endless – Bach Brandenburg concertos, Janacek operas, Mahler, Sibelius symphonies, Schubert & Schumann lieder, Joni Mitchell, David Bowie, Rufus Wainwright…
Who are your favourite musicians?
Alfred Brendel, Radu Lupu, Murray Perahia, Martha Argerich, Andras Schiff, Brigitte Fassbaender, Gerald Finley. Of those no longer with us – Carlos Kleiber, Claudio Abbado, Jacqueline du Pré to name just a handful
What is your most memorable concert experience?
Impossible to select just one! Perhaps the most unexpected was a performance in the South of France at the En Blanc et Noir Festival, Lagrasse where pianists perform in a semi covered, stone market place. I was giving my first ever concert of Liszt’s Anneés de Pelerinage, Switzerland and whilst launching into the octave deluge of ‘Orage’, a genuine summer storm raged overhead complete with crashing thunder and flashes of lightning. Perfect timing, coincidence and choreography!’
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
Commitment, passion, patience and a sense of giving your all to the works of the truly wonderful composers who enrich our lives.
On a practical front, each musician needs to acquire the essential knowledge of musical building blocks – harmonic movement, structure/architecture, a feeling for melodic shaping, precise rhythmic grasp – whilst constantly developing their abilities to listen closely to what is actually coming out of the instrument!
What is your idea of perfect happiness?
Having clear headspace and a mind free of extraneous worries
What is your most treasured possession?
My 2009 Steinway Model B Piano
The London Piano Festival, a brand new celebration of the piano created by Katya Apekisheva and Charles Owen, runs from 7-9 October 2016 at London’s Kings Place. Further information about the festival here
Charles Owen is recognised as one of the finest British pianists of his generation with an extensive series of performances and recordings to his name.
Charles has appeared at London’s Barbican and Queen Elizabeth Hall and regularly gives recitals at the Wigmore Hall and Kings Place. Internationally he has performed at the Lincoln Center, Weill/Carnegie Hall, the Brahms Saal in Vienna’s Musikverein, the Paris Musée d’Orsay, and the Moscow Conservatoire.
His chamber music partners include Adrian Brendel, Nicholas Daniel, Augustin Hadelich, Chloë Hanslip, Julian Rachlin and Mark Padmore as well as the Carducci, Elias, Takács and Vertavo Quartets. In addition he has an established piano duo partnership with Katya Apekisheva with whom he has recorded the duo versions of Stravinsky’s Rite of Spring and Petrushka
Charles studied in London at the Yehudi Menuhin School, the Royal College of Music with Irina Zaritskaya and later furthered his studies with Imogen Cooper and Valeria Szervánszky. He has won numerous awards, including the Silver Medal at the Scottish International Piano Competition (1995) and the 1997 Parkhouse Award with the violinist Katharine Gowers. A regular guest at many leading festivals such as Aldeburgh, Bath, Cheltenham, Leicester and West Cork , Charles has also performed concertos with the Philharmonia, Royal Scottish National, London Philharmonic and the Moscow State Academic Symphony orchestras.
Charles’ solo recordings include discs of piano music by Janácek, Poulenc and the complete Nocturnes and Barcarolles by Fauré. Together with Natalie Clein, he has recorded cello and piano sonatas by Brahms, Schubert Rachmaninov and Chopin for EMI.
Charles Owen is a Professor of piano at the Guildhall School of Music and Drama in London.