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Contemporary Romantics
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Contemporary Romantics

Max Lifchitz, piano

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Track List
6. Expressions Intimes

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Ah...! The keyboard. That miracle of science and poetry that we simply refer to as the piano. What an imaginative collection of hammers, dampers, repetition leavers, keys, strings and more truly a masterpiece of precision engineering always eager to react to the human touch. How many hours of pleasure the piano has provided for both performers and listeners. Ah...!

Since the early 1800's the piano has been known as the composer's best friend and confidant. Countless compositions have taken advantage of this magnificent instrument's unique expressive resources. Although the music of the nineteenth century masters is well known because it has been performed and recorded extensively, the works of newer masters have not always found their way into recordings, thus preventing them from reaching a wide audience.

This collection, as well as its companion volume (N/S R 1002, American Debuts), seeks to introduce the public to the piano music of today that is being written by American composers. Selecting the music of these two albums was a ticklish undertaking for me, to say the least. I pored over stacks of recent piano works, choosing only those compositions that I felt represented each composer at his or her very best. After learning the music, I integrated them into public programs sponsored by North/South Consonance in New York. Both press and public responded most favorably. It was then that I decided to record them.

The works represent a wide variety of aesthetic points of view and treat the keyboard in conventional and unique ways as well. I am confident that you, the listener, will be pleasantly surprised by the diversity and originality found in this collection of music.

Great care was taken to preserve the integrity of the concert hall ambience when this recording was made. Indeed, you will find that we successfully captured both the natural resonance of the concert hall and the wide dynamic range of the music. It was recorded and mastered with no equalization or artificial reverb. Please use a moderate volume setting when you play this recording.

—Max Lifchitz, New York; May, 1992

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