Prodigious captures the essence of John Ogdon's life and career. Known for exceptional power and an extraordinarily adaptable command of the keyboard, he gravitated toward the most formidable works, among them Busoni's massive Piano Concerto, Beethoven's "Hammerklavier" Sonata, the Concerto for solo piano extracted from Charles-Valentin Alkan's Op. 39 Etudes, and Kaikhosru Sorabji's four-hour Opus Clavicembalisticum. His musical scope proved equally vast, encompassing more than eighty composers and hundreds of pieces, many lodged in his extraordinary memory, with over 260 preserved on recordings. He further distinguished himself as the creator of nearly two hundred compositions spanning numerous genres, among them a symphony and piano concerto, while also teaching and producing extensive writings on music.
An unusually warm and accessible figure amid peers who often maintained greater distance, Ogdon focused above all on conveying the core of each work through lucid projection of its structure. He could equally achieve profound closeness to the music he performed. At the peak of his abilities, audiences responded most strongly to his intense focus and his supple yet unyielding command of the instrument.
Manchester-born in 1937, Ogdon revealed his gifts so early that he studied with the celebrated Iso Elinson, Egon Petri, and Ilona Kabos. After a series of well-received appearances in northern England, he created a sensation with his London debut at twenty-one, presenting Busoni's seldom-performed Piano Concerto. International recognition followed quickly through two major prizes of the early 1960s: the Budapest Liszt Prize in 1961 and First Prize at the 1962 Moscow Tchaikovsky Competition, which he shared with the fast-rising Vladimir Ashkenazy.
A demanding schedule ensued, taking him to acclaimed concerts and recitals worldwide; he recorded prolifically and authored several respected studies, including Sorabji and Melville (1960), Liszt's Later Piano Music (1970), and The Romantic Tradition (1972). He also pursued composition lessons with Richard Hall, Thomas Pittfield, and George Lloyd. In 1960 he married pianist Brenda Lucas, and the couple frequently performed together.
A breakdown in 1973, though perhaps unsurprising given his unrelenting pace, stemmed from a deeper cause: schizophrenia, the same condition that had afflicted his father. Several years of hospitalization at London's Maudley Hospital followed, during which he reportedly continued practicing three hours daily on the institution's Steinway. His 1980 return to the concert platform drew notice that years of treatment and medication had affected his technical command, yet flashes of remarkable insight often transcended any limitations. His 1988 recording of Sorabji's Opus Clavicembalisticum (Altarus CD 9075, four discs) remains a remarkable testament. Between 1975 and 1980 he taught at Indiana University. Pneumonia claimed him in London at fifty-two, bringing a premature close to a remarkable career.
