On Sunday September 13 St Peter’s Church opened its doors to the first live music since the imposition of lockdown in March. Thanks to imaginative protective measures, it was possible to have a safely distanced audience of some 40 people, sitting in the ‘horse boxes’ with the piano placed in the centre of the church. Many more watched the recital on Zoom.
Who better to bring us such joy than Charles Owen, a long standing friend of Marlborough? He first played in St Peter’s in 1988 along with Katherine Gowers, and he has been several times since, notably when he performed Bach’s Goldberg Variations in the church in 2016. Since 1988 he has made a very successful career as a world-class pianist and a highly acclaimed teacher. As Professor of Piano at the Guildhall School of Music and Drama he has nurtured many of the brilliant young musicians who have played in St Peter’s over the past eight years. Thanks to Charles and Nick Maurice these recitals have become an integral part of Marlborough’s cultural life.
Charles selected music by Robert Schumann, Frederic Chopin and Franz Liszt. These are composers with whom Charles has developed a loving relationship over the months of lockdown. Wider reading and incorporating new music to his repertoire has been one of his ‘lockdown projects’. Furthermore the three composers he selected were all born within a year of one another, and, as Charles told us in his illuminating comments, they would have met one another and respected one another’s genius. Yet, what different lives they had.
Charles began with music by Robert Schumann, who tragically died in an asylum in 1856. The Arabesque is one of his best-known works, full of rippling quavers like babbling water, the calm broken by two darker and more reflective moments. It was played with love, the notes being gently teased out of the piano and the colour expressed by the subtle changes in speed.
Charles then performed a second piece of Schumann. His Abeeg variations. Written when Schumann was only 20 years old the variations take their title from one of two possible sources. They may be a tribute to a real friend, Pauline von Abegg or to Schumann’s fictitious friend Meta Abegg. Whatever the origin, the theme is based on the notes A B(b) CGG. (Try it out for yourself!)
This theme is developed into a lyrical waltz and is followed by four variations of very different character. The second is especially interesting as the theme is carried throughout by the left hand; ‘il basso parlante’ written in the score. The work is brought to conclusion with a dashing finale replete with cascade of semiquavers rippling from one end of the piano to the other. It was played effortlessly!
The Schumann was followed by two pieces by Chopin, to whom Charles has become especially close over the last few months. First came the mighty Fantaisie in F Minor, written when Chopin was but 31. It is full of dramatic contrasts beginning with a sombre march; its persistent rhythm played out in the left hand. The work then proceeds through a variety of moods with moments of pure lyricism, and overwhelming joy. Played with real artistry it became very clear that Charles is a true master of Chopin’s work.
This was followed the Poloniase-Fantasie opus 61. Composed in 1846 the work draws inspiration from the national dance of his native Poland from which he had been a long term exile. The work is highly charged throughout, but there is a gentle nostalgic central section before exploding into a gigantic galloping finale full of optimism and joy. Is this one of Chopin’s contributions to the fervent nationalism sweeping Europe in the 1840s?
Franz Liszt was the last of the triumvirate. Larger than life, he was a renowned as a pianist, perhaps the greatest pianist ever. So ferocious was his playing that many an instruments he played never recovered! Indeed it was the demands of his piano playing that led to the development of the iron frame at the core of the instrument. Faced with personal tragedy he reconnected with his Catholic faith and in 1865 finally took minor orders in the Catholic church. Hence his music of this period reflects a renewed spirituality. The Benediction de Dieu dans le Solitude played at the concert is one such work. A glorious melodic theme played in the left hand is continuous throughout the work and Charles conveyed the serenity with real empathy.
The second work, the Vallee d’Obermann is one of Liszt’s collection Annees de Pelerinage. Written in 1838 it is was inspired by a much admired contemporary novel. The ‘vallee’ is in the Swiss Alps, through which Liszt had been travelling and the work expresses both the landscape and the mental state of the hero, Obermann, A gentle, and listless first section is swiftly overwhelmed by the storm, with some catatonic playing, rumbling thunder and flashes of lightening, requiring some amazingly deft fingering, with octaves flying hither and thither. Eventually tranquillity is restored and the work ends with an out pouring of joy. This was virtuosic playing of which Liszt himself would have been proud. Furthermore the piano survived the onslaught.
It was a magnificent finale to a wonderful evening with a thoughtfully crafted programme which Charles played with consummate skill. These were moments of joy in difficult times. We left with a new sense hope in our hearts for which our heartfelt thanks are extended to Charles. We hope to see him here again in happier times.
Danny Kruger MP, September column
