Draft:Robert David Maxym

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Robert David Maxym

Biography

Maestro Robert David Maxym, American conductor, composer and music educator is known for his diverse musical activities including collaborations with prominent composers and orchestrations. He has held numerous positions and is associated with major performances and recordings. In addition to his artistic work Maxym has actively participated in music education and outreach initiatives. Maxym also founded and chaired the Internationale Ermanno Wolf-Ferrari Gesellschaft in Germany from 1983-1993.

Robert Maxym was First Conductor at the State Theater of Lower Saxony in Hanover (1980-84) and later served as Associate Music Director and Music Director of the Essen Opera (1985-1991). He has guest conducted for opera companies and orchestras worldwide and collaborated on the orchestration of "UShaka" (1994-99) with Mzilikazi Khumalo and Themba Msimang, and orchestrated three choruses by Todd Matshikiza (1996-98). A 1980 Conducting Fellow at Tanglewood, he received masterclass instruction from Leonard Bernstein, Seiji Ozawa, Sir Colin Davis, Klaus Tennstedt, and Andre Previn. Since 1993, Maxym has lived in South Africa, where he is committed to promoting music education and cultural upliftment in disadvantaged communities. He participated in a MIAGI (Music is a Great Investment) Composer's Give and Take Think-Tank in South Africa in June 2023.

Early years

Born in New York on April 29, 1948, Maestro Robert David Maxym comes from a family with a rich artistic legacy. His father, Stephen Maxym (1915-2002), was a world-renowned bassoonist, whose distinguished career included principal positions with the Pittsburgh Symphony and the Metropolitan Opera. He father shaped musical education as Chairman of the Woodwind Departments at The Juilliard School and the Manhattan School of Music and was a sought-after international lecturer. His mother, Lucy Maxym (1918-2017), was a notable independent businesswoman and author, recognized for her expertise in Russian iconography and painted lacquer boxes.

Education

1965: High School Diploma, Manhasset H.S., Manhasset NY, USA; National Merit Scholar.

1969: B.A., Major History (Minor Russian), Swarthmore College, PA, USA.

1968: Summer Studies in Russian at the Philological Faculty, Leningrad State University, Leningrad, USSR.

1974: B. Mus., Composition, Manhattan School of Music, New York NY, USA (Four-year program completed 1972-74), with composition studies under Rovics, Ulehla, Foss, Wuorinen, and mentorship from Dr. Fritz Kramer.

1974: Institute des Hautes Etudes Musicales, Montreux, Switzerland (Conducting studies with Rudolf Kempe)

1974 – 1975: Hochschule fuer Musik, Munich, Conductors’ Course with Prof. Jan Koetsier (3rd Year), and Composition studies with Harald Genzmer (interrupted due to engagement in Trier in 1975).

1980: Berkshire Music Centre, Tanglewood – Conducting Fellow. Master Classes with Leonard Bernstein, Seiji Ozawa, Colin Davis, Klaus Tennstedt, Andre Previn, and Gunther Schuller, during the summer festival of the Boston Symphony Orchestra.

Orchestras conducted, student years

• Manhattan Opera Group, New York.
• L’Orchestre de L’Institut des Hautes Etudes Musicales, Montreux, SWI.
• Hochschulorchester, Munich, Germany.
• Berkshire Music Centre Orchestra, Tanglewood.

Career

Theatre engagements

Maestro Maxym's theatre engagements included positions as Repetiteur with Conducting (1975/76) and then 2nd Conductor and Chorus Master (1976/77) at the City Opera, Trier;

2nd Conductor (1977/78) and Conductor (1978/79) at the State Theatre of the Saarland, Saarbruecken; 1st Conductor at the State Theatre of Lower Saxony, Hanover (1981-1984);

and 1st Conductor and Deputy General Music Director (1986-1990), culminating in the role of Music Director at the City Opera, Essen.

Guest engagements, Opera

He also held guest engagements at numerous opera houses, including:

• State Theatre, Saarbruecken (1977),

• City Opera, Bremen (1979), State Theatre, Kassel (1979),
• State Theatre, Hanover (1980),
• Teater Wielki, Poznan (1982),
• City Opera, Oberhausen (1983),
• State Theatre, Braunschweig (1984),
• City Opera, Essen (1985),
• City Opera, Gelsenkirchen (1985/86),
• Cologne Opera (1986/88),
• Kirov Theatre, Leningrad, USSR (1989),
• Teatro Municipal, Sao Paulo (1989),
• Teatro Regio di Torino (1991),
• State Theatre of the Pfalz, Mainz (1991),
• State Theatre, Pretoria (1991), and
• Opera South Africa, Pretoria (2014).

Guest engagements, Symphony

• Additionally, he has guest conducted for a wide range of symphony orchestras, including:
• Orchestra of Luxembourg Radio and Television (1979),
• State Orchestra of the Saarland, Saarbruecken (1979),
• Radio Symphony Orchestra of Radio Saarland (1979),
• Symphonisches Orchester Berlin (1979-1986),
• Rheinische Philharmonie Koblenz (1979/84),
• Radiosymphonieorchester Berlin (1979/84),
• Savaria Symphonieorchester Szombathely (Hungary) (1980),
• State Orchestra of Lower Saxony, Hannover (1982/84),
• Orchestra A. Scarlatti of Italian Radio and Television, Napoli (1984-90),
• Philharmonic Brass, Duesseldorf (1987),
• Concerts at Castle Benrath, Duesseldorf (1988),
• Environmental Trade Fair, Duesseldorf Messe (1988),
• Essen Philharmonic (1986-91),
• Manhattan School of Music Orchestra, New York (1988),
• Westphalian Symphony Orchestra, Recklinghausen (1988-90),
• Halle Philharmonic Orchestra (German Democratic Republic) (1989),
• Folkwang Chamber Orchestra, Essen (1989/91),
• Noordhollands Filarmonisch Orkest, Haarlem (NL) (1990),
• Orchestra Radio della Svizzera Italiana, Lugano (1991),
• The National Orchestra, Johannesburg (1991),
• Orchestra of the Action “Filarmonica” Rumania, Frankfurt (1992),
• Transvaal Philharmonic Orchestra, Pretoria (1993-1999),
• National Symphony Orchestra, Johannesburg (1992-1999),
• Johannesburg Philharmonic Orchestra (2001-2015),
• Kwa-Zulu Natal Philharmonic Orchestra, Durban (1992-2010),
• South African National Youth Orchestra, Pretoria (1993),
• Eastern Cape Philharmonic Orchestra, Port Elizabeth (1994, 2003),
• Sandton Square Festival Orchestra, Johannesburg (1995),
• Cape Town Philharmonic Orchestra (1997-2001, 2023),
• Volksoper Symphonieorchester, Vienna (2004),
• Basel Chamber Orchestra (2004),
• and the Marysas Ensemble Orchestra, Brussels (2004).

Guest engagements, Productions for Radio and Television

In addition to his work in opera and symphony, Maestro Maxym has also been involved in a variety of productions for radio and television, including engagements with:

• RTL Luxembourg (1979),
• Radio in the American Sector (RIAS) Berlin (1979),
• Radio Saarland (1979),
• Hungarian Television (1980),
• North German Radio (NDR) Hannover (1984/86/88),
• Radio Free Berlin (SFB) (1986),
• South West German Radio Baden-Baden (SWF) (1987),
• Norwegian Radio Oslo (1988),
• Radio Hessen (HR) Frankfurt (1988-90),
• Radio and Television of Italian Switzerland, (RTSI) Lugano (1991),
• and SABC Johannesburg (1992/96).

Style and Influence

A detailed analysis of Robert Maxym's stylistic approach reveals nuanced conducting and compositional techniques that distinguish his work. His contemporary relevance is evident in his contributions to modern classical music, where his influence can be observed in both the evolution of the genre and the practices of fellow musicians.

Awards and Recognition

Maestro Maxym's awards and recognition include:

• Third Prize at the "Premio Firenze" - AIDEM, Firenze XII. Concorso Internationale per Giovani Direttori d'Orchestra, Orchestra Palazzo Pitti (1975);
• Finalist in the V. Herbert von Karajan Dirigierwettbewerb Berlin, with the Symphonisches Orchester Berlin and Orchester des NDR Hanover (1977);
• Finalist in the III. International Conducting Competition of Hungarian Television, Budapest, with the Orchestra of Hungarian Radio and Television and the Savaria Symphonieorchester Szombathely (1980).

Compositions, Arrangements and Orchestrations

“12 March, 1427: Left-Hand Canyon”,  for 15 musicians, baritone solo and choir, Thesis Composition for Manhattan School of Music B. Mus. Degree, Text Johanna Pragh, first performance May 19, 1974, New York, (Unpublished) 1974.

“Recollections” Song Cycle (Six Songs) for Soprano and Piano, Text Johanna Pragh,1975, Version for Soprano and Orchestra 1988, both scores published by Zinneberg, Glonn, Germany 1989.

Symphonic Interludes from the opera, LE VESTE DI CIELO, by Ermanno Wolf-Ferrari, arranged, transposed, and with transitional material supplied, by arrangement with the publisher, Josef Weinberger Ltd., London, first recorded for Radio, NDR Hannover, 1984/6, first performed Manhattan School of Music, New York, 1988.        

Orchestrations of three Scott Joplin Ragtimes: Wall Street Rag, Pleasant Moments Ragtime Waltz, Magnetic Rag, recorded for Radio, Hessischer Rundfunk Frankfurt 1991.

Orchestration of “Romanze di Janneche” for Mezzo-Soprano and orchestra (orig. voice & piano), by Manlio P. Cavarretta, recorded for Radio at Hessischer Rundfunk Frankfurt (unpublished) 1991.

Orchestral Suite from the opera, LA CENERENTOLA, by Ermanno Wolf-Ferrari, by arrangement with the publisher, Josef Weinberger Ltd, London 1992/94.

Orchestration of “Bawo Thixo Somandla” (Xhosa), traditional song, first performed in September 1993, Transvaal Philharmonic Orchestra, Athlehong-Ditshego Middle Schools Choir, in Atteridgeville and Mamelodi (Pretoria) 1993.

USHAKA, KASENZANGAKHONA, Zulu epic in music and praise poetry – Original SATB choral work, a capella – Mzilikazi Khumalo. Original Epic-poetic Text – Themba Msimang. Orchestration forming the basis of Maestro Robert D Maxym's work by Dr C James (1992-4). Full “Orchestral Enrichment and Enhancement” of the orchestral score, composition of transition sections between numbers, and composition of the Overture –1995/96. Recorded in May and September, 1996, Johannesburg, SABC, NSO, First performed September 24, 1996, City Hall Johannesburg, Live SABC television broadcast – since performed many times in SA, USA, and Europe.

THREE SONGS by Todd T. Matshikiza, (d. 1968), Orchestrations commissioned by the composer’s heirs (wife Esme Matshikiza, son John Matshikiza), by arrangement with Accent Music, Johannesburg: “Hamba Kahle” (Fare Thee Well) (1950), “Makhaliphile” (Dauntless One), “dedicated to Father Trevor Huddleston, C.R. in appreciation of his services in the cause of humanity” (1953/4), “Uxolo” (Peace) (1956) composed for Johannesburg’s 70. Birthday celebrations, 1st performance: Sowetan/SABC1 Massed Choir Festival, Standard Bank Arena, Johannesburg 1999.

All three of these songs arranged for choir and band: First performance of the version for band, University of Stellenbosch, Symphonic Wind and Brass Ensemble, 2011.

Concerto for Didjeridu and Orchestra, for Stephen Kent 2008.

“Siyakhulekela” (We are Pleading), dramatic Zulu Wedding Scene for Orchestra and Praise Poet (in Zulu) [Text: CT Msimang]    2010, Revised for Praise Poet, Choir, and Orchestra2021, First performance Cape Town Philharmonic Orchestra, Cape Town, September 28, 2023.

Musicological Works

Maestro Maxym has also made significant contributions to musicology, with a focus on critical editions and revisions. His notable works in this area include: Critical Revision of the published Orchestral Score to Heinrich Sutermeister’s LE ROI BERENGER, for B. Schott’s Publishing House, Mainz (1988); reconciling the piano and orchestral scores of K. Penderecki’s DIE SCHWARZE MASKE for B. Schott’s Publishing House, Mainz (1989); Critical Revision of the Orchestral Score to Adolphe Adam’s ballet GISELLE, for R. Jorgenson Publishers, Bonn (1989); Critical Revision of the Orchestral Score to Ermanno Wolf-Ferrari’s “Idillio Concertino” for G. Ricordi Publishers, Milano (1992); and the critical revision of the Tonic Sol-Fa manuscript score into staff notation, and its reconciliation with the orchestral score of Mzilikazi Khumalo’s USHAKA KASENZANGAKHONA (1995-99).

Discography

His discography displays a range of his work with diverse orchestras and soloists, capturing significant performances and recordings across his career. His contributions reflect his commitment to both established classical repertoire and contemporary works, highlighting his versatility and artistry as a conductor.

Maestro Robert David Maxym's discography includes:

• Ermanno Wolf-Ferrari’s SLY, a three-act opera with soloists, chorus, and orchestra of the State Theatre of Lower Saxony, Hannover (featuring Bader, Polaski, and Reeh), released on the ACANTA/RCA Label (40.23501 FK) in 1982 (originally as an LP);
• Ermanno Wolf-Ferrari’s Idillio Concertino, with Omar Zoboli on oboe and English horn, and the Folkwang Chamber Orchestra Essen, released on Koch/Schwann CD (311113 H1) in 1989;
• Heinrich Sutermeister’s Divertimento Nr. 1 for Strings, Jean Francaix’s Sei Preludi, and Wilhelm Killmayr’s Grande Sarabande, performed by Camerata Assindia Essen as part of the “Music for String Orchestra in the 20th Century” Vol. I series on Koch/Schwann CD (1990);
• Dmitri Shostakovich’s Chamber Symphony and Alexander Glazounov’s Suite for Strings, performed by Camerata Assindia Essen as part of the “Music for String Orchestra in the 20th Century” Vol. II series on Koch/Schwann CD (1991);
• Ernst Krenek’s Symphonic Elegy, Bohuslav Martinu’s Partita, Suite Nr. 1 for String Orchestra, and Wolfgang Fortner’s Music for Strings II, performed by the Transvaal Philharmonic Strings, Pretoria, as part of the “Music for String Orchestra in the 20th Century” Vol. III series on Koch/Schwann CD (1993);
• and Khumalo/Msimang/Maxym/James’s USHAKA, KASENZANGAKHONA, an epic in music and praise poetry, featuring Sibongile Mngoma (Soprano), Sibongile Khumalo (Alto), Themba Mkhwani (Tenor), Peter Mcebi (Bass), Themba Msimang (Praise Poet), Bonisudumo Choristers, Daveyton Adult Choir, Cenestra Male Choir, Soweto Songsters, and the National Symphony Orchestra of the SABC, released on SONY (SA) CDCSL 8047(R) in 1996.

Publishing Activities

Maestro Maxym established MAXYM MUSIC CC in Bryanston, South Africa out of musicological and music-historical necessity in November 1996, through which he has published a variety of works, including:

• USHAKA, KASENZANGAKHONA by Khumalo, Msimang, Maxym, and James, featuring dual notation piano-vocal albums and scores with Zulu/English text, and commentaries by the Composer and Poet (Volume I: 7 Pieces for Solo Voices, 1997; Album for Soprano, 1997
• Album for Alto, 1997
• Album for Bass, 1997
• Complete Piano-Vocal Score, Text and Commentaries, 1999)
• Themba Msimang’s “People, Places, and Events in the Epic” USHAKA, KASENZANGAKHONA (1998)
• Todd T. Matshikiza’s Three Songs, with complete orchestral scores, orchestral parts, and choral parts (by arrangement with Accent Music, Johannesburg, 1999); arrangements for Band and Choir (2008); a chamber version of Khumalo, Msimang, Maxym’s USHAKA, which premiered at the Kennedy Center, Washington D.C. in February 2000
• Scott Joplin’s Three Ragtimes, with complete scores and orchestral parts (2000); Martens, Bodenstein, and Maxym’s Suite from “CHILDREN OF AFRICA”, in an orchestral version (instrumental only, 2002); Arrangement for Band and Choir (2008)
• Maxym/Kent’s Concerto for Didjeridu and Orchestra (2008); and Maxym/Msimang’s SIYAKHULEKELA, with orchestral score, piano vocal score and orchestral parts  
• The Young Woodwinds and Strings Series (2023).

INTERNATIONALE  ERMANNO WOLF-FERRARI GESELLSCHAFT

(International Wolf-Ferrari Society)

Maestro Maxym’s first serious exposure to the work of the German-Italian composer came in 1982, when he was tasked with the production and subsequent CD recording of Wolf-Ferrari’s tragic drama SLY at the State Theatre in Hanover. Maxym delved into further research and found that Wolf-Ferrari’s operas, which during the first 40 years of the 20th century ranked only behind Mozart, Wagner and Puccini in frequency of performance in opera houses around the world and had fallen into almost total oblivion over the thirty-odd years since his death in 1948. In addition there were numerous chamber and orchestral works of unique beauty and style, hardly any recordings other than historical recordings from the first half of the century, and no serious scholarly works of note. This seemed a musical and musicological gap that was begging to be filled.

Maxym thus became deeply involved in promoting the works of this composer to a wider audience. He founded and chaired the Internationale Ermanno Wolf-Ferrari Gesellschaft, e.V. from 1983 to 1993. The organization was dedicated to preserving and promoting Wolf-Ferrari's musical legacy through literature, performances, and recordings. Maxym produced the CD "Wolf-Ferrari, Italian Songbook, “Canzoniere”, Sei Intermezzi" with Maria de Francesca-Cavazza (Soprano) and Horst Goebel (Piano),  Koch/Schwann CD recording in 1987, and conducted the Concertino for English Horn and Idillio Concertino for Oboe with soloist Omar Zoboli and the Camerata Assindia chamber orchestra in Essen for the Koch/Schwann CD recording in 1989. As a guest conductor for radio productions with NDR Hannover and HR Frankfurt, he also recorded such works as Arabesken, Trittico, Venzianische Suite, Divertimento, his own compilation of Orchestral Interludes from Wolf-Ferraris mystical masterpiece, the opera Le Veste di Cielo (The Garments of Heaven), and the Suite Concertino for Bassoon, this latter with his father, Stephen Maxym as soloist.

Languages

Coming from a Ukrainian family to USA, moving to Europe and ending with Africa Maestro Maxym's language proficiency is notable. From a list of ten different languages English is his mother tongue and he is fluent in German. He is also relatively fluent in Italian and while his Russian is a bit rusty now it was once fluent. He is comfortable with conversational French and Spanish and used to be fluent for him. He has enough Dutch to read and he is reasonably conversant in Afrikaans. He is also making good progress in conversational Sotho/Pedi/Xhosa, and his Zulu is improving through both studying its archaic form in USHAKA and through conversation.

Scientific Research (1967, 1969-1972)  

Before his music studies and career, Maestro Maxym was involved in scientific research. In the summer of 1967 (between his sophomore and junior years) and again in 1969 after his graduation from Swarthmore College, he was employed as a Recreational Officer and Research Assistant at the 15th floor Heroin Ward, Methadone Facility, New York Metropolitan Hospital, 96th Street and 1st Avenue in Manhattan, New York Medical College, Division of Biological Psychiatry.

The USA had introduced a lottery system for young men to be drafted into the army at the height of the Vietnam War in 1968. Each 18-year-old male received a number corresponding to the number associated with his birthday drawn out of a bowl containing 366 balls. College students received a deferment while keeping their number until after graduation, which meant that Maxym was subject to the draft in June, 1969. His number was 196; in 1968 young men up to number 191 were drafted.

It was common knowledge that college graduates were was what called “prime” 2nd Lieutenant material for the army. It was also known that the average life expectancy of a 2nd Lieutenant in the field on parole with his platoon was under 30 minutes.

The Director of the New York Medical College, Division of Biological Psychiatry, Dr. Max Fink, M.D., PhD., oversaw a grant from the Food and Drug Administration doing what was perceived to be important medical research. His letter to the Director of the FDA earned Maxym a deferment from the draft as being essential to the conduct of the research in progress.

Maxym thus continued as a Research Assistant at New York Medical College in late 1969 to early 1970. From 1970 to 1972, he was promoted to be the Manager of the IBM 1800 Research Facility at New York Medical College, where his duties included participating in the collection of data, evaluation and statistical analysis of  experiments upon human volunteer subjects and upon hospital methadone facility patients in structured blind studies of the effects of heroin, methadone, marijuana, hashish, anti-depressant and anti-schizophrenic drugs upon human EEG and associated human behavior.

The end of the draft lottery in 1972 allowed Maxym to continue with his intended musical studies.

References

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