Max Fishman

Max Shakhnovich Fishman (Polish: Mieczysław (Mietek) Fiszman /Fischman/; Romanian: Max Fișman; Russian: Макс Шахнович Фишман, known as Max Benovich Fishman), December 12, 1915, Warsaw, Poland – September 24, 1985, Chișinău, Moldova) was a Moldavian Soviet composer, pianist, and teacher, brought up on the basis of Jewish, Polish, and Russian culture.

Life in Poland
Max Fishman was born on December 12, 1915, in Warsaw, in the family of an entrepreneur, philanthropist and the head of the Warsaw synagogue Szachna-Benisz Fiszman (1870, Opatów – July 1, 1936, Warsaw) and Esther Fishman, née Bleiberg (1880, Ćmielów – according to some sources 1942–1943 in the Warsaw Ghetto or Treblinka extermination camp) He had six older sisters and a younger brother.

He studied at the Warsaw Conservatory with Józef Turczyński (piano) and Antoni Marek (composition). As a student, he composed music and participated in concerts collaborated with popular Polish actresses Ida Kamińska and Lola Folman, hypnotist and illusionist Wolf Messing, and performed at the famous orphan school Janusz Korczak, where he worked as an educator in the summer months. In August 1939 he was drafted into the army, and during the attack of when Nazi Germany on Poland on September 1, he participated in the anti-fascist resistance. Fleeing from Nazi persecution, on October 21, 1939, he swam crossed the Western Bug with his nephew Pawel Gruenspan (1920–2000, a Polish pianist, composer, and leader of the Jazz Orchestra)  and ended up in the territory occupied by the Soviet Union under the Molotov–Ribbentrop Pact. He was arrested by the NKVD, where, instead of the surname Mieczysław (Mietek), they wrote the name Max Fishman and put him in a camp.

Life in the USSR
Max Fishman was "lucky" in the spring of 1940, he was not shot in Katyn, but sent to the Labor army, (NKVD labor columns), in fact, the Gulag, with which he traveled most of the territory of the USSR working on construction sites, loggings, and in Aktyubinsk, in Kazakhstan), he dragged trolleys with chrome ore from deep mines. In September 1944, after a concert, where, under the leadership of Max Fishman, a group of Poles from the Labor Army performed Polish folk and patriotic songs to improve the image of the USSR in the eyes of the Polish army on the territory of the USSR, he, with frostbite on his hands and poor health, was released and sent to study at the Saratov Conservatory. Later, for all his hard labor trials, he was awarded the Medal "For Valiant Labour in the Great Patriotic War 1941–1945". During the war, almost all of his relatives perished in the Warsaw Ghetto. Many of them participated in the 1943 uprising. Max Fishman's early compositions were lost.

At the Saratov Conservatory, he studied piano with professor E. M. Singer, from where he was transferred to the Minsk Conservatory in 1945. There he studied with professor G. N. Petrov (piano) and listened to lectures on composition by Professor A.V. Bogatyrev, although formally he was not his registered student. In 1945 he married Lydia Axionov. Since 1947 Мax Fishman has been repetiteur, a pianist accompanist at the Minsk Conservatory. After graduating from the Minsk Conservatory, Max Fishman had great difficulties with his job in Minsk, since at that time in the USSR there was an extensive campaign against cosmopolitanism, with anti-Semitic essence. After working at the Musical College of Gomel, he and his wife were sent to Moldavia.

Since 1952, he worked at the Chisinau Conservatory (later renamed the Chișinău Institute of Arts named after G. Muzicescu, currently the Academy of Music, Theater and Fine Arts) as an accompanist, and piano teacher. More than a hundred students from the departments of strings, wind and folk instruments, vocals, and acting at the Chisinau Conservatory studied in the piano class of Max Fishman and later became leading masters of musical and theatrical art in Moldova. He also taught piano at the Calarasi Pedagogical College and at the music school in the village Carpineni.

Max Fishman was actively involved in composing. Dozens of different genres remained in his creative portfolio the historical and artistic significance of which is confirmed by their popularity in the past. The compositions of Max Fishman have been and are still being performed by leading musical groups of Moldova – by the Symphony Orchestra Moldovan Philharmonic, the Philharmonic choir Doina, the Moldovan Jazz Orchestra "Bucuria" Moldovan Philharmonic, the Symphony Orchestra Moldovan Radio and Television, the National Chamber Orchestra in the Chișinău Organ Hall, the choir Chișinău Conservatory, the choir Chișinău Institute of Arts named after Gavriil Musicescu, the choir Chișinău Academy of Music, the choir Chișinău special music school named after E. Coca and others.

From an interview with Moldovan violinist and composer, Honored Art Worker of the Moldavian SSR, professor Boris Dubosarschi to music critic, journalist Serghei Pojar (2010)::
 * "'…In the early 60s, the organizing committee interzonal violin competition in the USSR in Moldova invited composers from all the republics to write a virtuoso work for violin, which was to be performed by all participants in the competition. To avoid accusations of dishonest choice, each composer was given a number and his name is hidden in a sealed envelope. The jury for the selection of this work was solid and mainly represented by the leadership of the Union of Composers of the USSR and Moldova. There were a lot of works for the competition, but there was little controversy, when the envelope with the number of the winning composer was publicly opened, it turned out to be Max Fishman. The responsible persons of the competition were shocked, but it was too late to change the situation, but it was necessary, due to the tension between Israel and the surrounding Arab world. Composer – a Jew did not fit. And they found a way out. There was an experience. At one of the congresses of composers, the surname Fishman on the poster was replaced with the surname Fimshan, which sounded like a Moldavian one, and this time they found a more harmonious surname – Pescaru, that translated from Romanian will be Fishman. The laureates of the competition with great pleasure performed this piece for violin by Max Benovich… and one of these winners was my classmate, the magnificent violinist Boris Goldenblank, later the first violin of the outstanding orchestras of Jurij Silantiev and Andre Rieu'"

Max Fishman died on September 24, 1985, in Chișinău. He was buried at the Chisinau cemetery of St. Lazarus (also called "Doina").

Awards

 * Medal "For Valiant Labour in the Great Patriotic War 1941–1945"
 * Medal "Veteran of Labour"
 * Jubilee Medal "Thirty Years of Victory in the Great Patriotic War 1941–1945"
 * Jubilee Medal "Forty Years of Victory in the Great Patriotic War 1941–1945"

Family
His wife Lydia Axionova (July 19, 1923 — September 18, 2019) was a Soviet and Moldovan Сhoir Сonductor, the first woman Сonductor of the Symphony Orchestra in Moldova, the first in Moldova who got the academic title Professor of Сhoral Сonducting. Their sons: actor, and director Băno Axionov (b. 1946) and pianist, and teacher Artur Aksenov (b.1956).

Selected works

 * 4 piano concerto.
 * Two trios for piano, violin, and cello. (1954–1958).
 * Variations for piano.
 * The cycle of 5 preludes for piano (1956).
 * "Mazurka. Memories of Poland" (1956).
 * Cantata "Glory to Young Eagles" (dedicated to young fighters against Nazism) to the words of S. Varelopulus 1959.
 * Suite for large symphony orchestra (1961).
 * Piece for oboe and symphony orchestra (until 1961).
 * Fantasy for small symphony orchestra.
 * Capriccio E Minor for piano (1961).
 * Sonatina for clarinet and piano in B (1963).
 * Sonatina for piano (3 movements) (1963).
 * Romance (arrangement for trombone and piano, 1963).
 * 5 Preludes for Piano (Remembrance, Spring is Coming, Estrada Echoes, On the Lake, On May Day).
 * Jazz Overture (1964).
 * Concert piece for violin and piano (1964).
 * Scherzino for clarinet and piano in B (1964).
 * Scherzo (arranged for trombone and piano, 1964).
 * Choir "Autumn" ("What are you rocking…?") to the words of Mihai Eminescu 1964.
 * 4 studies for piano (1968).
 * Sonatina for piano d-moll (3 movements) (1968).
 * Prelude in e-moll for piano (1968).
 * Ten Piano Pieces on Moldavian Themes (1969).
 * Canon for choir (Moldovan folk song) (1973)
 * Polyphonic piano cycle Canons (1976).
 * Sonata for violin and piano in d-moll.
 * 4 studies.
 * Ten piano pieces on Moldovan themes (miniatures Dance, Variations, Olandra, Canon, Youth, Variations, Comic, Variations, Song, Jock).
 * Scherzino G-dur for piano.
 * Humoresque for violin and piano.
 * Choir "Harvesting" to the words of Vasile Alecsandri.

Discography
In 2006, a disc was released with recordings of music by M. Fishman (from the funds of "Teleradio-Moldova", total time – 78:19.04), which included:
 * Variations for piano. Performed by Lyudmila Vaverco, recorded in 1956.
 * Trio on Moldovan themes for piano, violin and cello. Performed by Lyudmila Vaverco (piano), Oscar Dayn (violin), Vsevolod Dubrovsky (cello), recorded in 1958.
 * Piece for oboe and orchestra. Performed by Dmitry Rotar (oboe), MSSR Radio and Television Orchestra, conductor Alexander Vasechkin, recorded in 1961.
 * Sonatina for piano. Performed by Ghitlea Strakhilevich, recorded in 1963.
 * Concert piece for violin and piano. Performed by Lilia Neaga (violin), Ghitlea Strakhilevich (piano) recording in 1964.
 * Humoresque for violin and piano. Performed by Lilia Neaga (violin), Ghitlea Strakhilevich, (piano) recording in 1964.
 * Sonata for Violin and Piano. Performed by Lilia Neaga (violin), Ghitlea Strakhilevihi (piano) recording in 1964.
 * Sonata for clarinet and piano. Performed by Evgeny Verbețsky (clarinet), Ghitlea Strakhilevich, (piano) recording in 1964.
 * Scherzino for clarinet and piano. Performed by Evgeny Verbețsky (clarinet), Ghitlea Strakhilevich (piano) recording in 1964.
 * Capriccio for piano. Performed by Ghitlea Strakhilevich, recorded in 1964.
 * Etude in G major for piano. Performed by Ghitlea Strakhilevich, recorded in 1964.
 * Etude in D minor for piano. Performed by Ghitlea Strahilevici, recorded in 1964.
 * Choir "Autumn" ("What are you rocking…?") to the words of Mihai Eminescu. Performed by the Conservatory Choir, conductor Lydia Axionov, recorded on June 23, 1964.
 * Choir "Harvesting" to the words of Vasile Alecsandri. Performed by the Conservatory Choir, conductor Lydia Axionov, recorded in June 23, 1964.

Some published works

 * Fishman M. Hunting. Chisinau: State Publishing House of Moldova, 1956 (Фишман М. La vânătoare. Chișinău: Editura de stat a Moldovei, 1956).
 * Fishman M. Sonatina d-moll for piano. Chișinău: Cartea moldovenească, 1968 (Фишман М. Сонатина d-moll для фортепиано. Кишинёв: Картя Mолдовеняскэ, 1968).
 * Fishman M. Prelude and four studies for pianoforte. TsGARM, F. 3050, Op. 2, D. 309. (Фишман М. Прелюдия и четыре этюда для фортепиано. ЦГАРМ, Ф. 3050, Оп. 2, Д. 309).
 * Fishman M. Capriccio, Scherzino. Selected works of Moldovan composers. Chișinău: Cartea moldovenească, 1961, p. 150–172. (Фишман М. Каприччио, Скерцино. В: Избранные произведения молдавских композиторов. Кишинёв: Картя Молдовеняскэ, 1961, с. 150–172).
 * Fishman M. Sonatina E-flat Major for clarinet in B. Chișinău: Cartea moldovenească, 1963. (Фишман М. Сонатина Es-dur для кларнета in B. Кишинёв: Картя Молдовеняскэ, 1963).

Personality
From an interview with Moldovan composer, Honored Art Worker of the Moldavian SSR Vladimir Slivinsky to music critic, and journalist Serghei Pojar (2004):
 * "'…Fishman was one of the largest composers of Moldova, although he was not formally a member of the Union of Composers. But, to be honest, Max Fishman did not need the Union of Composers, but the Union of Composers needed him. He was frank, uncompromising, honest, subtle, charming... His music did not leave any listener indifferent. Even obvious ill-wishers and there were many of them, I think, noted his originality and modernity, taking origins from the depths of either Moldovan or Jewish Melos. This uncertainty particularly annoyed them. His suggestions, advice, and analysis of the works of colleagues have always been kind, interesting, and well-reasoned. The main thing for him was to help and not to harm ...'"

From an article Composer and professor Max Fishman, of the associate professor, PhD in the study of arts Tamara Melnik:
 * "'…as far as even a cursory analysis of his works allows us to appreciate, his talent was original, bright, extraordinary ... The pinnacle of the piano-concert line of M. Fishman's work are 4 piano concertos ... Piano Concerto Es-dur continues the traditions of a great romantic, namely, 'lyrical-epic and lyrical-psychological concerto'... The development and diversity of the piano texture, the expressiveness of the harmonic language, the intensity of the thematic and tonal development, the bright national-colored imagery allow us to put the Es-dur Concerto on a par with the most outstanding examples of this genre in the work of Moldovan composers of the 2nd half of the 20th century... In 1950–1970. M. Fishman becomes a significant figure in the professional composing circles of the republic. The genre palette of his work is extremely diverse – symphonic and chamber-instrumental works, piano concertos, cycles of miniatures, canons, etudes, numerous adaptations. On the one hand, they reflect the harmonic and textural formulas of the Romantic era (allusions to the works of F. Chopin, P. Tchaikovsky, S. Rachmaninov), as well as the innovations of piano music of the 20th century (B. Bartok). However, the originality of his works is largely determined by their national identity, which is not only in modal, intonational or rhythmic characteristics, but also in the peculiarities of the worldview, the structure of feelings of the Moldavian people…'"

From an article The piano trio by M. Fishman as a sound document of its era, by Rector, Associate Professor of the Pridnestrovian State Institute of Arts (Tiraspol) Irina Pleşcan:
 * "'...The Max Fishman Trio, as a sound document of its era, synthesizes a variety of ideas and traditions. Despite all the horrors of the 20th century experienced by the composer and his family, who died in Auschwitz, the death of his mother and younger brother, the flight from Nazi-occupied Poland, his stay in the colony and other events, according to L. V. Axionova, the composer’s attitude was bright and optimistic, which is reflected in the Trio's music. In the context of historical and stylistic synthesis, this work reveals the influence of classical and romantic traditions, which is also quite characteristic of Moldovan music of the 1950s. From the point of view of assimilation of the experience of different composer schools, we note the strong influence of Russian music, which has always been present in both Moldovan and Polish musical cultures. Refracted in various works of the composer, these traditions were multiplied by the desire to preserve and convey in music their ethnic and cultural identity…'"

From an article Overture by Max Fişman in Prfofessional European Music and the Third Layer Interaction Context, of the associate professor, PhD in the study of arts Victoria Tcacenco:
 * "'...Despite the fact that Max Fishman’s Overture exists only in the form of a musical text, no recordings have survived, an analysis of the score allows us to state that this work is bright, theatrical, rich in contrasts, which is quite attributable to the genre of orchestral overture. In its musical language it is democratic, and attractive to the widest audience due to its reliance on the rhythm of everyday genres, the synthesis of elements of Moldavian folklore, and “mass music'. M. Fishman demonstrates an excellent mastery of the laws of listener perception... Max Fishman's Overture is a score that has preserved for us information about one of the best examples of everyday music of its time...'"

From an article The concerto for piano and orchestra es-dur by M. Fishman in the romanticism traditions context, of the associate professor, PhD in the study of arts Tamara Melnik:
 * "'…Thus, not previously mentioned in any source and until recently not included in the orbit of the study of domestic musicology, M. Fishman's Concert Es-dur has not only artistic, but also historical value, as it is able to complement the picture of the origin of the genre in Moldavian music. Moreover, according to Pavel Borisovich Rivilis, who worked in those years as a senior consultant in the Union of Composers of the MSSR, this work is one of the best examples of a piano concerto of the post-war era...'"