Magda Mayas

Usually found in configurations ranging from duos on up, Berlin-based pianist Magda Mayas prepares and extends the textures of an acoustic piano for a distinctive solo statement here. More often stretching timbres from within the instrument’s bowls and outer shell as the keyboard, her broken chord ruminations create a unique interface that is more global then gimmicky.

Adding objects, a guitar pick up, a guitar amplifier and, on the final piece, 16 upright pianos, the approach uses lingering shifts in harmonies and rhythms to create expositions which transform melodic patterns. With pressure on hammers, dampers, the fallback, inner strings and soundboard, guitar-like twangs, gong-like reverberations, singular vibes-like sustain and even turns towards steel drum echoes are heard. Never redefined as another instrument, the pianoforte connotation is maintained with multiple key crunches and individual key strokes. The addition of amplified whooshes and fizz add another textural layer, but abrasive rasps on unyielding surfaces and single key patterns reconfirm the non-AI elements in the improvisations.

Each of the three narratives builds up to a climax where the ambiguity between rhythmic and tonal pivots is resolved into consequential patterns that result in distinctive refrains. Coda can be ringing string strums, pinched near whistles or shaking calm. Therefore each sequence defines itself individually.

A notable display of solo invention, Chant is compelling on its own, yet still seems to lack the distinctive capacity that makes Mayas’ collaborative sessions so noteworthy.

–Ken Waxman

Track Listing: 1. Embodied 2. Halcyon 3. Chant

Personnel: Magda Mayas (piano, objects, guitar pick up, guitar amplifier, 16 upright pianos)