Keelan Carew, pianist

Who or what inspired you to pursue a career in music and who or what have been the most important influences on your musical life and career?

I’m still not sure that I willingly pursue a “career” as such. I’m honestly surprised that anyone actually pays me to make music… I’d do it for free if I could afford to! I choose a musical life and the piano because it brings me daily joy, intrigue and challenge. I practiced more seriously from age 12, but still didn’t fancy a career as a musician. My father passed away when I was 17, and the piano and its music really saved me from the worst places. From then, I knew that music would give me genuine fulfilment and purpose, so I dedicated my life to it. My teacher at this time, David Sams, was a crucial figure too. He developed my technique so that I could play anything that I wished, and really opened my ears to the most precious moments in Schumann, Chopin, Beethoven…

What have been the greatest challenges of your career so far?

Learning “Rach 3” was quite the task! I had a year to do it, but also worked full-time away from the piano, and began my broadcasting with Radio 3 on top of that. My practice had to become wildly more efficient than it had been previously. I managed to pull it off, but I would like another go at it under more forgiving circumstances.

The pandemic lockdowns were very demoralising. Initially I, like most pianists, enjoyed the chance to squirrel away more repertoire without distractions. But by the third lockdown, the lack of concerts (both as performer and audience) and making music with friends meant that inspiration began to dry up. One can only spend so much time with just scores and books! Music is fundamentally social, and digital spaces have their limits. I came out the other side with Beethoven’s Diabelli Variations in my hands, which was deeply rewarding to emerge with.

The greatest ongoing challenge is balancing a musical career with actually “having a life”. The current nature of the industry encourages very self-absorbed tendencies in my opinion. With so many musicians competing for fewer and fewer opportunities, many are ultimately coerced into prioritising the work above everything else: time with family, friends, relationships, other disciplines, and community. You risk forgetting how to talk about anything other than music! These are unsustainable sacrifices for a well-rounded life, and eventually even diminish your musicianship, ironically.

Which performances/recordings are you most proud of?

Earlier this year, I performed Shostakovich’s 2nd concerto for the first time in Southampton. I’m especially fond of the performance because it might’ve been my most joyous experience yet. This took me massively by surprise, as I don’t even like Shostakovich! And I had my reservations about the piece too – I thought it too “light” to be rewarding in performance. But as we played, I began to smile more and more, and share more smirks and smiles with Craig Lawton, the conductor. By the third movement, the whole orchestra was practically raving and beaming with verve. I realised then that the piece is essentially a celebration, and I think we achieved that in the performance.

Which particular works/composers do you think you perform best?

Beethoven, Haydn, Rachmaninov, Prokofiev, Mussorgsky, Debussy, and I’m a zealous Busonian. I take well to American composers like Gershwin, Rzewski and Bernstein too (I’m a classicist, but I maintain a jazzy disposition) Amusingly, I think Brahms sounds well in my hands, but I’m not fond of his music (except for the first concerto – I’ll take that!) Mozart and Bach I worship, but others are much better than me, so I play them for myself. Fauré is a favourite of mine, but it’s very difficult to play well. I think I’m getting there with him.

How do you make your repertoire choices from season to season?

I’m maximally omnivorous with repertoire – just ask me what to play and I’ll play it! The aforementioned experience with Shostakovich taught me that with most good music, even if you initially don’t get it, studying it will reveal what’s worthwhile in it. Playing the piano is specialist enough, so I try to avoid becoming “over-specialised” in a particular period, genre or composer, despite the industry’s fondness for “oh X is a [insert composer name] expert” Variety is the spice etc etc…

With every season, I do like to pick at least one “mountain” – a large, formidable work that really stretches me technically and musically. At time of writing, it is Beethoven’s final Sonata, op.111.

Do you have a favourite concert venue to perform in and why?

I don’t have a favourite venue – yet. I do however keep a list of bucket-list venues that I come across. The latest addition to that list is the auditorium in the Yves Saint Laurent museum, Marrakesh. Ideally I’d be wearing a YSL suit to match, but I’m too parsimonious to acquire one.

What do you do off stage that provides inspiration on stage?

Wine, women, and song!

It really depends on the music. Performance requires you to shape-shift into all sorts of narratives and characters, so different pieces will have me immersing myself in different ideas and cultures. As for getting inspired to get on stage in the first place, I simply have to know that the given music is worth sharing with the given audience.

What is your most memorable concert experience?

I have a poor memory for concerts when I’m playing. The absolute absorption in the Now prevents me from mentally stepping back and actually making memories. I can only remember the moments immediately after I stop playing.

As a punter, I do remember my first live Mahler symphony very well, the 5th. I was deeply moved, shaken even. It was the RNCM Symphony Orchestra, so I had friends in the band, too. The atmosphere of concerts there was always extremely warm, triumphant even. I also vividly remember a performance of Shostakovich’s 10th symphony at the Bridgewater hall, by one of the Russian orchestras who were on tour. I’d never heard such a large ensemble play so exactingly together, before or since. It was astonishing.

As a musician, what is your definition of success?

“Dear Keelan Carew, please play in our festival/concert series. We will pay you one MILLION dollars”

…more sincerely: I don’t think you ever arrive at success. It’s a by-product of good work on good music. It’s closing the piano lid at the end of the day and thinking “I can’t wait to learn that next part tomorrow” for me that is the most uplifting feeling. That is the best state to find oneself in.

What do you feel needs to be done to grow classical music’s audiences?

If by classical music audience we mean “bums in seats”, at this stage, the most necessary change is probably rent controls and rail nationalisation. Ha! It is a very unsexy answer, but audiences were most robust in the previous century because state-funded initiatives massively intervened in the arts and education. We should not forget that Arts Council England was founded by the economist John Maynard Keynes immediately after WWII. Keynes even stressed that he found the artistic process utterly mysterious, yet worth investing in regardless. The problem is not one of “growth”, it’s the fact that the huge existing audiences are much less experiencing classical music so much as they are consuming it.

To go even deeper, we might even be past “peak-classical music”. Taking the historical view, it took the resources of literal empires to produce the spaces required for classical music at its best.

Empires come and go. Compared to literature and physical art, classical music is a much younger medium, and seems more at the mercy of technological and economic development. Art music will always be practiced and created, but I would not be surprised if the conventional classical concert dies in my lifetime, or at least retreats to a handful of venues and organisations. And while I’d miss many aspects of it, I’m curious to explore future music-forms.

What’s the one thing in the music industry we’re not talking about which you think we should be?

I think the musical world – and especially the industry – fetishises youth. Most musicians aren’t especially interesting until they’re middle aged anyhow! I blame Leopold Mozart. All too many children are pressured to the point of abuse, and many more dismissed as lost-causes. It’s miserable, and anxiety is rife amongst working musicians. I don’t believe you can really know this life is right for you until you’re at least beyond puberty. Proper artistic cultivation takes longer than the business would like. Prodigies are mythical, in the sense that they are very captivating, and not real. The training regimes that produce top musicians need serious re-evaluation.

What advice would you give to young or aspiring musicians?

Take your time. There is no rush, and the stakes aren’t that high in the grand scheme. My dad drove lorries for a living – a genuinely dangerous and important occupation that keeps the world moving. By contrast: musical instruments are toys. Toys! You can and should be pretty chill about it. Even as a professional, you play music. Never forget that.

Please tell us more about what audiences can look forward to at your upcoming performance at the London Piano Festival.

Babar the Elephant is the epitome of charm! For the younger members of the audience: watch out for my facial expressions. They follow the music. And watch for how Michael and I pass the words and music between one another – it’s very playful.

What’s next? Where would you like to be in 10 years?

In ten years, I would like to be retired, and constantly threatening to return to the stage.

What is your idea of perfect happiness?

Playing Mario Kart with my near and dear. Specifically when I’m losing for most of the race, and stage an improbable, heroic comeback in the final lap. That’s pure bliss.

What is your most treasured possession?

My book collection. Most are unread, which is ideal.

What is your present state of mind?

Loved up. I recently got engaged!

Keelan Carew appears at the 10^th anniversary edition of the London Piano Festival (9-12 October) at Kings Place, performing Poulenc’s Barbar the Elephant with Michael Morpurgo and leading a Q&A with Sir Stephen Hough on 11 October. Find out more