Dresher, PA - If classical music is a conversation through the centuries, then the hands of Charles H. Pettaway, full Professor of Music at Lincoln University in Pennsylvania, speak with fluency, passion, and a deep sense of discovery. From his earliest days coaxing sound from a stubbornly locked upright piano at his grandmother’s house, through asthma attacks, exhilarating debuts, and international competition victories, Pettaway’s journey is as multi-faceted, polished, and enduring as the diamond he likens it to.

Decades after his first piano lessons at age six, Pettaway continues to practice daily, clocking three hours or more at the keys, not simply to prepare for concerts, but out of an abiding love for music. “Things that used to bother me before don’t bother me now,” Pettaway reflects, “because I’ve sort of mastered them, but it’s taken me all this time to get to that point. I always liken it to a diamond in the rough, and how to become a diamond, it goes through intense pressure.” His analogy rings true not only for musicianship, but for life itself, as family, setbacks, and triumphs have all found their voice in his music.

Growing up among musicians, Pettaway’s path seemed both inevitable and unique. His grandmother, a church musician, and supportive family recognized his early affinity for the piano. When health challenges kept him from sports, music became both sanctuary and pursuit. While local teachers recognized his promise, it was Clement Petrillo at the Philadelphia Musical Academy who truly shaped his artistry. “He was my mentor and my friend, and my Italian father away from home,” admits Pettaway. Petrillo instilled a devotion to rhythm, precision, and soul, as well as techniques that still guide Pettaway’s hands.

“He was a stickler for rhythm,” recalls Pettaway, who credits Petrillo’s insistence on discipline and musicality for his early wins in competitions and his eventual scholarship. These lessons carried Pettaway to the world stage, including a coveted fellowship at Tanglewood, a debut with Fullerton Hall, Chicago Art Institute, and a life-changing summer at France’s celebrated Fontainebleau, studying with none other than Nadia Boulanger. An international icon, Boulanger recognized Pettaway’s “God-given talent,” setting the stage for his triumph at the Robert Casadesus Piano Competition, a victory that opened the doors to Carnegie Hall and a debut with the Toulouse Capitole Orchestra.

Through it all, Pettaway’s philosophy remains rooted in honesty and humility. He never expects accolades; he focuses instead on the work, the process, and the audiences he serves. “My mother would always say, ‘he who wills can,’” Pettaway shares, echoing the drive that also propelled his brother to become a professor and physician.

Pettaway’s discography demonstrates his curiosity and commitment to inclusion. His latest album, Charles Pettaway Performs the Music of African American Composers, showcases works historically overlooked, including pieces by Lincoln University’s own Dr. John Dangerfield Cooper. Sponsored by a university grant, the album is not just a musical achievement but a statement about representation and legacy.

In the classroom, Pettaway’s lessons stretch further than the practice room. His research into erased histories and hidden figures, such as Joseph Bologne, Chevalier de Saint-Georges, “the Black Mozart,” reshapes students’ understanding of the classical tradition. “I’m always researching something new,” he says. “For example, what would change if we acknowledge African roots in education and discovery?” Pettaway challenges both students and colleagues to question the received wisdom, to read, to think critically, and to see music as a truly global language.

Surprisingly pragmatic about technology, Pettaway embraces computers and YouTube as teaching tools, but remains clear about the irreplaceable value of live performance and personal connection. “There’s no spiritual content in AI-generated music,” he notes. “I need to sit down and touch keys and try to convey my feelings… I need the blood, sweat, and tears.”

Asked about his legacy, Pettaway hopes to be remembered for his hard-won mastery and his belief in music’s cultural and historical significance. Whether performing with the Philadelphia Orchestra or introducing students to the ancient civilization of Kemet (now Egypt) and its overlooked influence on Western music, Pettaway’s work is an invitation to deeper knowledge and broader understanding.

But perhaps the core of Pettaway’s message is resilience: personal, artistic, and communal. “Human achievement has never been the exclusive property of one race. We’ve got to realize that. We’re all in this together. So we’ve got to be human.”

From the concert hall to the classroom, Charles H. Pettaway remains a living link in the chain of musical history by sharing, questioning, and inspiring each new generation to discover both the rigor and the joy of music.

For more information about Charles H. Pettaway, please visit https://www.lincoln.edu/directory/faculty-and-staff/charles-h-pettaway-jr.html/, https://www.linkedin.com/in/charles-pettaway-36256b41/, https://www.youtube.com/watch?v=earLvlAm53g/, and https://www.youtube.com/watch?v=D2fyWz_-RXY&t=1s/.