Olga Craen: A Life Devoted to Music

Born in 1913, Olga Craen's life was steeped in music from an early age. Her prodigious talent was evident, and she received rigorous training in piano, eventually leading her to become one of the most distinguished pianists and music educators in India. After her marriage to Jules Craen, the first conductor of the Symphony Orchestra of Bombay, Olga’s life became even more intertwined with the growth of Western classical music in India. The couple became central figures in the country’s musical landscape, mentoring and guiding many young talents for almost half a century.

Smita Godrej Crishna recalls: “I was a very young student of Olga’s, and of course, my mother Soonu had every good intention and hope that I would learn to play the piano well. But to me, Olga was a formidable person, and it was with great trepidation that I attended her class. I was her student for about a year, but looking back, I don’t think concert pianists or pianists of her ilk should have taught beginners like me!”

Olga’s journey was not without its challenges. Despite her exceptional skill, her career as a concert pianist was cut short due to nerve damage in her 4th and 5th fingers, a condition that today might be recognized as carpal tunnel syndrome. Forced to give up performing, she redirected her passion and expertise into teaching, where she found a new and perhaps even greater purpose.

For her students, Olga Craen was more than just a teacher—she was a mentor, a disciplinarian, and a lifelong influence. Zinnia Mehta Khajotia, one of Craen’s many accomplished students, vividly recalls the strong foundation her mentor built from the very beginning. "Of course, she was an excellent teacher, and in hindsight, I am grateful that she took on a 6-year-old, which meant teaching me 'from scratch,' thereby building a strong foundation," she says. Khajotia also remembers Craen’s imperious nature and her insistence on precision. "She was oftentimes impatient, with the odd knock on the head or hand. Having perfect pitch, she would holler from another room if a wrong note was played. She stressed proper technique and hand position and would tolerate no 'affectations' (body-swaying and the like), preferring instead that we 'coax the notes and make the piano sing!' Till today, I have preserved two precious tutorial books—the first on 'Ornaments,' as superbly taught and simplified by Madame Olga Craen, and the other from my Sydenham College days on 'Statistics!'"

Ernavaz Bharucha, who met Olga later in life, adds, “Music was her life, not just a part of her life. Olga was a phenomenal musician and pushed her students to do their best. She didn’t believe in mincing her words or sugar-coating them. My lessons with her were never time-bound, and she gave me a new perspective, both about playing and the theory of music.”

A Teacher’s Legacy: Discipline, Excellence, and Passion

For Marialena Fernandes, another of Craen’s students, the annual Pupils’ Recital at the Taj Crystal Room stands out as a defining feature of her early musical education. "Olga’s Annual Pupils’ Recital at the Taj Crystal Room gave us—her pupils—an opportunity to perform for larger audiences at an early age and phase in our musical lives. She therefore assisted us in overcoming stage fright and evolving our own strategy on how best to express ourselves in public," Fernandes recalls. This early exposure to performance was a crucial part of Craen’s teaching methodology, designed to prepare her students for the rigors of a professional music career.

Freda Soares adds a memory of her own: "When I first auditioned for classes with Olga, my fingers trembled with fear as she stood over me listening to the Mozart Sonata that I had prepared. At the end of my half hour of anxious playing, I was ready to take flight out the front door when she put her hand on mine and said imperiously, ‘Start classes from tomorrow.’ I was overcome with shock and overwhelmed with joy."

Roshan Chowna emphasizes the discipline Craen instilled in her students. "To my students, I have conveyed the need for rigid discipline as taught by Olga. And also to thrash out—there and then—any difficult passages when first encountered before progressing on to the rest of the music," Chowna says. She fondly recounts a memory from her youth, "It was my 14th or 15th birthday. I went for my lesson in a new dress with cake and flowers for Olga. She kissed and wished me. But for some strange reason, I was stumbling over the music more than usual. She asked, ‘Why? Have you not practiced?’ More mistakes later, she shut my book, handed it to me, and sent me packing!"

Zarir Baliwalla sums up Olga’s approach: “Olga was certainly a person in the MUSICAL GENIUS category. A hard taskmaster and one who knew her music well, she emphasized equally on technique and playing from the soul. She always told us to SING as we were playing.”

Khushroo Suntook also recalls his time under Olga’s instruction: “Her lessons were strict, musical, and demanding... She was a fine teacher and an even finer pianist. I still vividly remember her playing a Beethoven waltz and sonata for me, urging me to apply myself with the same discipline. In many ways, I am where I am because of her adherence to not succumbing to musical indiscipline.”

Craen’s approach to teaching was deeply influenced by her own rigorous training, which included time spent at the prestigious Nadia Boulanger’s studio in Paris—a finishing school for pianists aspiring to international careers. This European influence permeated her work ethic and her expectations of her students, many of whom went on to have successful careers in music.

Farah Rustom, another one of Olga’s dedicated students, reflects on the profound effect her teacher had on her development as a musician. "Olga was a force to be reckoned with—her standards were uncompromising. She believed that music was not just about hitting the right notes but about conveying emotion, about making the audience feel something. This is something that I have carried with me throughout my life, both in music and beyond. I remember the way she would sit by the piano, listening intently, and then gently guide my hands to the keys, showing me how to bring out the depth in a piece. Her influence is something that remains with me to this day."

Roshun Birdy adds further depth to our understanding of Olga’s impact:
"She insisted on a sound theoretical knowledge in her students from a very early stage; music theory was always taken seriously and given equal importance with piano, with most students taking exams every year in tandem with the practical exams. But theory was never merely 'theoretical,' and she took every opportunity to apply it to the pieces we were studying and to ensure that that knowledge flowed into the performance. This was particularly true in baroque and 'classical' music (fugues, for example, were never taught without a detailed analysis, and entries and other important features always had to be marked in the score; sonata form movements were also analysed). I remember that she also drew our attention to Beethoven's 'orchestral' piano writing, and encouraged us to listen to Mozart's operatic arias for a better understanding of the slow movements of his piano sonatas. (I can still hear her urging us to 'sing, sing, SING!')"

Cyrus J. Guzder remembers Olga as both teacher and person: “As a teacher, she had a no-nonsense, highly disciplined approach to ensuring we showed improvement lesson after lesson. On the foundation of a strong technique, about which she was uncompromising, her pupils attained very high standards of playing in a relatively short time.”

The Olga & Jules Craen Foundation: Carrying the Torch

The legacy of Olga Craen is not just in the memories of her former students but also in the ongoing work of The Olga & Jules Craen Foundation, which continues to uphold the high standards she set. The foundation was established to honour the memory of both Olga and her husband, Jules, and to promote excellence in Western classical music in India. Since its inception, the foundation has been instrumental in identifying and nurturing young musical talent in the country.

Zinnia Mehta Khajotia, a trustee of the foundation, notes, "To ensure a totally non-partisan, unbiased selection of the Young Musician of the Year, the foundation has since its inception entrusted it to the visiting examiners of the U.K. music boards." This rigorous selection process reflects the foundation’s commitment to upholding the standards that Olga Craen championed throughout her life.

Zarine Wadia reflects on her time with Olga: “Olga was tough, rude, and very outspoken, but had a heart of gold. She demanded excellence but also had a way of making you feel like you could achieve anything with hard work and discipline.”

A Legacy of Excellence and Humanity

Michelle Marquis Athaide, who represents the third generation of pianists in her family trained by Craen, remembers the meticulous attention to detail her teacher demanded. "Lessons always began with Hanon’s exercises, and she always knew after just 2 or 3 bars whether I had practiced or not. The day my book was flung, and I had to leave in double-quick time, I learned to always go prepared for a lesson! Nothing deterred me from persevering, thankfully."

Craen’s influence extended beyond the technical aspects of music. Blossom Mendonca recounts a story that captures the emotional depth and humanity of her teacher. "Olga Craen was an excellent pianist. To her misfortune, she developed nerve damage in her 4th and 5th fingers and had to give up performing. To her students’ good fortune, she dedicated all her time to teaching them. My first encounter with her began with meeting her Labrador, Dooney. She said we must be good people since her dog liked us!" Mendonca also recalls Craen’s unwavering confidence in her students. "I once won a music competition and very excitedly gave her the news. She didn’t say congratulations. She said, ‘Naturally, whose pupil are you!’"

Roshan Chowna adds another layer to Craen’s legacy, noting her teacher’s unique ability to balance strict discipline with warmth and encouragement. "While she was strict and often uncompromising when it came to practice and performance, there was always a twinkle in her eye when she saw us succeed. She took genuine joy in our progress, and that was perhaps the most motivating factor for us as her students."

Farah Rustom shares a similar sentiment, recalling how Craen’s influence extended far beyond the music room. "Olga had a way of making you feel that you could achieve anything, as long as you were willing to work for it. She was a teacher, yes, but also a life coach in many ways. The lessons I learned from her have shaped who I am today."

Olga Craen was also known for her sense of humour and her ability to connect with people on a personal level. Zinnia Mehta Khajotia recalls, "Olga also became part of our family. She had a mischievous sense of humour and enjoyed being in company, glass in hand, her favourite tipple being gin! So there was always much joking and laughter around her."

Looking Ahead

As we celebrate the 10th anniversary of the YMOY Award, it is clear that Olga Craen’s legacy continues to resonate in the lives of her students and the broader Western classical music community in India. The memories and anecdotes shared by her former students offer a glimpse into the life of a woman who was not only a remarkable teacher but also a deeply human figure, full of warmth, humour, and an unyielding dedication to her craft.

Through the work of The Olga & Jules Craen Foundation and the achievements of the Young Musician of the Year Award recipients, Olga Craen’s influence will continue to inspire and shape the future of Western classical music in India for generations to come.

Young Musicians of the Year (2013-2024): A Variety Performance

• Venue: Tata Theatre
• Date & Time: 29 September 2024 | 6:30 pm
• Age Limit: 6+

Event Details

The NCPA along with The Olga & Jules Craen Foundation present Young Musicians of the Year (YMOYs) from 2013 to 2024 in celebration of The OJCF’s 10th anniversary. The evening will feature performances by pianists Tanay Joshi, Anuvrat Choudhary, Fateen Ahmed and Neil Sajnani; Meagan Pandian on the harp, Shirish Malhotra on the flute, Kabir Dabholkar on classical guitar and Samyuktha Rajagopal on her great-grandfather’s 150 year old violin! Countertenor Subin Sebastian will be accompanied by Nadine Crasto on the piano.

They will perform works by Ludwig van Beethoven, Antonin Dvořák, Edvard Grieg, Charles Griffes, Fritz Kreisler,  Fanny Mendelssohn and Franz Schubert among others. The celebration will also include solos, duets, trios, and performances with musicians of the Symphony Orchestra of India. Additionally, two former students of Olga Craen, Choral Director Blossom Mendonca with Living Voices—Mumbai, and pianist Marialena Fernandes, will be featured in this special event. Dancers of Divine Nrityalaya will showcase their young talent too!