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Lifchitz to Play Lifchitz at Manhattan's Klavierhaus

The concert will provide a panoramic view of Mr. Lifchitz's evolution as a composer. It will feature seven compositions written over a period of sixty years.

By: Oct. 19, 2024
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On Sunday evening November 10, 2024, Max Lifchitz will perform a recital devoted entirely to his own piano music.

The event will be held at Manhattan's Klavierhaus (790 11TH Avenue; New York, NY 10019).

It will start at 7 PM and conclude around 8:30 PM.

Admission to the event is free. No tickets required.

The concert will provide a panoramic view of Mr. Lifchitz's evolution as a composer. It will feature seven compositions written over a period of sixty years.

The program will open with three pieces written in the recent past while on isolation due to the pandemic. These are: Lonesome Tears, B-A-C-H Fantasia and Is Spring Right?

The oldest works on the program are Cinco Preludios (Five Preludes) and Tema con variaciones (Theme and Variations) written in 1964 when the composer was living in Mexico City.

Other works include Affinities (written in 1979); Piano Silhouettes, (written in 2012 inspired by Elisabeth Condon's paintings); and Three Tango Etudes for the left hand alone completed at the beginning of this year.

The concert will be livestreamed via YouTube @ https://www.youtube.com/@maxlifchitz1485

Active as pianist and composer, Max Lifchitz has appeared as soloist with among others, the Albany Symphony Orchestra, the Sheboygan Symphony, México's National Symphony Orchestra and the Neuchatel Orchestra in Switzerland. The San Francisco Chronicle described him as "a composer of brilliant imagination and a stunning, ultra-sensitive pianist" while the New York praised commented on his "clean, measured and sensitive performances." His numerous recordings are widely available through AppleMusic, Spotify, Amazon, YouTube, Naxos and most other music streaming services.

The event is made possible with public funds from the New York State Council on the Arts and the New York City Department of Cultural Affairs. Additional support from the BMI Foundation, the Zethus Fund and many generous individual donors is gratefully acknowledged.




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