A ‘NEXT BIG THING’ AT 69
Late bloomer Christian Blackshaw
While classical music has its share of divas, prima donnas and well-inflated egos, British pianist Christian Blackshaw isn’t one of them.
Even if several years ago, the Spectator magazine asked whether the now 69-year-old Londoner was “the next big thing in classical music,” and said that his recordings of Mozart “have already secured him a place in history.” Blackshaw in an interview was unfailingly modest and quick to lavish praise on his musical heroes and mentors. He was even candid enough to disclose that performing can still make him nervous.
Blackshaw’s career only came into full blossom after he turned 60 and had raised three daughters following the death in 1990 of his wife, who succumbed to cancer. “It’s a very long time ago; I will never forget what happened,” he says, before politely requesting that the subject be changed. “It’s a private thing. If we could stick to musical things, I’d be very grateful, if you don’t mind.”
Still, in the edited conversation below, Blackshaw, who performs Sunday night in Ottawa, has plenty to say about his musical development and deep reverence for the “sound worlds” of his favourite composers.
Q Tell me about your first attractions to music and the piano.
A The first music I responded to, I can recall that day very clearly. My father had some old 78s, and at the age of four, I was allowed one day to put on a particular recording, and it was Mendelssohn’s Fingal’s Cave overture. I didn’t go crazy, but it just made such a strong impression and I’ve often wondered why that should be. It’s not something initially very happy. It’s in a minor key, B minor as it happens. I just loved the way it modulated, from this
minor, rather mysterious music to the sublime major. I was just fascinated. From then on, all I wanted to do in my leisure time was to listen to music. When I was old enough, as my parents thought, to have piano lessons, I began at about the age of late six or early seven, and the rest, well, fast forward to now.
Q You turned down an offer to record for Deutsche Grammophon, the great classical label, almost 40 years ago. What happened?
A One still suffers from nerves and questions one’s abilities and all that. There was a recital I was giving in Munich, and it was proposed that the company would record live. I was very apprehensive about that, and didn’t feel really ready to commit to such an illustrious company, and through my agent I declined. I think I was right. I felt I needed more experience even though I was 31 or 32, which is not exactly 18.
But then, of course, life took a different direction. We won’t dwell ...
Q In the last decade, your career has been on the rise, with more international performances and at last some recordings. I have the impression that is something that happened to you rather than something you made happen. Is that fair?
A I would say that’s right. John Gilhooly, who runs Wigmore Hall in London, was very inquisitive about me. We had a meeting ... I gave a recital in the summer of 2011 at Wigmore Hall. Amazingly, the hall was full, and there was some rather good reviews and then the pressure was on.
They (Wigmore Hall) wanted me to put on the Mozart piano sonata cycle, which I was really excited about because it was something I’d been working on for many, many years, picking them up and putting them down, and wondering if I could give that cycle in public, knowing as we all know how difficult they all are. I was absolutely thrilled, and then they suggested that the whole cycle be recorded. Naturally I agreed and accepted 100 per cent ... I felt very honoured.
Heart was in mouth recording, of course, and especially live, and I was apprehensive about the result, and what the critics might say. But I was rather overwhelmed by their response, I must say, and this has led to an escalation in concert-giving.
Q What does Mozart’s music mean to you?
A From about the age of 10, 11, 12, I was fascinated by Haydn. I think for young people he is such a sparkling character, and full of humour, and yet it can be so profound. But Mozart — I didn’t warm to particularly. That’s not to say I didn’t revere his great genius. I suppose I found him too difficult.
Then from about the age of 15, 16, 17, I was delving a little more into Mozart’s world. I tried to fathom what is the difference between Joseph Haydn and Wolfgang Amadeus. Mozart — I hope I’m on the right path — Mozart is such a vocal composer. Haydn, bless him, is of the earth, is more grounded in this world. Mozart is almost from another dimension. Once he hooks you in, he won’t let go. I struggle, trying to make the piano sing for him as I feel he would have wanted.
Q In Ottawa you’ll play works by Schubert and Schumann. What do they mean to you?
A I have reduced the number of composers that I try to play now because I am so endlessly fascinated by the sound worlds that they have created for us to explore. With regard to Schumann, who can resist his genius, his passion, his soul, his song-like quality, his imagination? For any pianist he is a god. The Fantasie is such an extraordinary outpouring of emotion.
Regarding Schubert ... first of all, his touch and quality as a human being, so modest and so vulnerable ... who can resist this world?
Q Earlier, you mentioned suffering from nerves. Can you elaborate?
A With pianos, we have to try to make friends with instruments rather quickly. It’s not for the faint-hearted, this life. I hope you have a fine instrument there.
When one’s pacing around the green room beforehand ... I do feel a sense of immense responsibility before I have to play anything. Suppose the muse doesn’t speak? I would feel disrespectful to the composer. I’m not making that up. Other people might say they don’t get nervous. I just admitted that I do.
I really look forward to performing. Please don’t get me wrong. I’m excited. I feel humbled that people ask me and all those good things. All I’m saying is I hope the music will speak through. And then we can adore the great composers that we serve.