Maves’ CD The Piano Sonatas
received a glowing review on Musicweb
http://www.musicweb.uk.net/classrev/2002/Apr02/Maves.htm
David MAVES
The Piano Sonatas
Max Lifschitz (piano)
Recorded : Recital Hall of SUNY Stony Brook, January 1983 (Sonatas
1 and 2) and Recital Hall of the University at Albany, May 1995
(Sonatas 3 and 4)
NORTH/SOUTH RECORDINGS R 1008 [75:59]
AmazonUS
David Maves’ four piano sonatas span some twenty
years of his composing career and thus provide for a good opportunity
to assess his musical progress over the years.
The Piano Sonata No.1 (1973) has a somewhat unusual structure
and consists in six short sections, of which the first five are
best heard as studies in piano writing and piano sound. The final
section Finale summarises and amplifies the various, rather disparate
elements of the preceding sections. The piano writing here is
somewhat more radical and ‘modern’ than in the later
sonatas, but never extravagantly so.
The Piano Sonata No.2 (1978) is rather similar to
the First in that it is also a multi-sectional piece of which
the last section Sonata is some sort of summation of the preceding
ones, much in the same way but on a somewhat larger scale than
in the First Sonata. The major difference is that the Second Piano
Sonata is in fact a theme and variations capped by a larger Finale,
and the composer acknowledges Beethoven’s Diabelli Variations
as a model. A fairly impressive piece of music, I must say, and
a very taxing one, from the pianist’s point of view.
The composer admits that his Piano Sonata No.3 (1993) is a “simple,
straightforward Neo-classical sonata”. To some extent this
is a fairly apt description of the piece, obviously on a smaller
scale than the Second and in a comparatively more traditional
idiom, thought I doubt that ‘Neo-classical’ is the right
word to describe the music. On the whole, however, the Third Sonata
is a quite accessible and enjoyable piece of music well worth
having.
In total contrast again, the Piano Sonata No.4 (1994) is on a
rather grand scale and is laid-out in four movements, thus roughly
adhering to the traditional sonata pattern. The opening movement
is full of vitality and grand, brilliant gestures, and must be
rather tricky to play. The following Andante is a theme and variations,
and is followed by a nervous Scherzo. The Fourth Piano Sonata
ends in grand manner, “a gargantuan build-up for its entire
length into a big ending”. The Fourth Sonata is an expansive
work in the mould of the big romantic sonata, though the music
is somewhat more traditional though still clearly 20th Century,
and quite demanding, calling for much strength and stamina on
the performer’s part.
Maves’ piano sonatas are really fine, beautifully written
and very contrasted works. In a way, a composer’s view on
20th Century piano writing in all its diversity while clearly
avoiding the more ‘trendy’ gimmicks. Even if parts of
the earlier sonatas are somewhat more ‘modern’ in sound,
the music is very accessible, often rather demanding but always
very rewarding.
Besides being the founder and conductor of the North/South Consonance
ensemble, Max Lifschitz is also a brilliant pianist who has the
full measure of Maves’ often intricate music. The present
recording of the first two sonatas was originally released on
OPUS ONE RECORDS and are cleanly transferred here, whereas the
recordings of the Third and Fourth Sonatas were made in 1995 and
were given a warm, natural piano sound. Well worth investigating.
Hubert Culot
Rob Barnett
Editor Classical Music on the Web
www.musicweb.uk.net <http://www.musicweb.uk.net>
Editor, British Music Society Newsletter
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South Carolina NATS
Congratulations to C of C Voice Students for superb
performances at the South Carolina NATS (The National Association
of Teachers of Singing):
Honors Winners (qualifying for Regional Competition):
Junior Women: Kristin Buffkin, Emily McClure, Kristina Riegle
Junior Men: Benji Lee
Sophmore Men: Gilberto Hurtarte
Freshman Women: Merrell Young
Musical Theatre: Jamie Westberry
1st Place Winners:
Sophmore Women: Christina Demos
Junior Women: Emily McClure
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Southeastern Community College Piano Competition
William Villaverde has won yet another piano competition.
Friday, March 15, 2002 he wone 1st prize in the Southeastern Community
College Piano Competition in North Carolina.
3rd prize went to Bernard Krafsig and Edward Leonard
All three winners are piano students of Enrique
Graf
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Marco Sartor comes out on top at the 6th Annual Edwin H. &
Leigh W. Schadt String Competition.
The classical guitar was featured this year at the
annual Schadt String Competition. Three finalists performed at
a free public recital at Allentown Symphony Hall. First place
went to Marco Sartor for his performance of the Concerto for Guitar
and Orchestra by Villa-Lobos. The first place award is $5,000
and a solo performance with the Allentown Symphony Orchestra 2002-2003
subscription series.
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BEST MUSICAL DIRECTOR
Laura Ball, piano major, was recently recognized as the BEST MUSICAL
DIRECTOR by the Critics at the City Paper for her work with “LUCKY
STIFF” . Ball is a piano major studying under Robin Zemp.
In addition, she studies voice with Margaret Kelly Cook.
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