Michael Deak was born on October 10, 1942. His father, Imre Eric Deak (1892-1945), was a concert pianist and musical instructor. Imre studied with two students of Franz Liszt before WW1. During the war years, he was conscripted against his will by the Prussian army. He felt his hands were ruined for concert work because of having to dig ditches, trenches and latrines until he became an officer in the artillery. Michael's father, with his brother Stephen, escaped Hungary after the war by traveling across the Austrian Alps. He emigrated to the U.S and was in New York City in 1921. Later, Imre returned to Hungary to Study with Bartok (with whom Imre became close friends), Kodaly, and Dochnanyi. Michael's father died in November, 1945--a month after Bartok--and because Michael was but three years old, the potential for some influential input from his father's vast musical experience and knowledge was lost to Michael. Imre's death was tragic for Michael for obvious reasons, but the loss of his knowledge was very unfortunate for his son.
Jeanette Scott Deak Eubanks (1916-1992) kept Imre's memory alive for her son, and she exposed Michael to music his father recorded--crude as the recording techniques were in the 1940s. It was obvious from those recordings how prodigious Imre's talent was as a pianist. Word has trickled down through the years as well, of what a profound effect his teaching abilities had on his music students--not only piano students, but voice and music history students as well. It is because of this subtle attempt to instill in Michael a love of music through memories of his father, that Michael became a professional musician... He feels he owes his mother a great debt of gratitude for this service she performed.
Michael was not to become interested in music until he was 17 years old. Michael became a jazz vibist in high school when he was a senior in 1960. He switched to piano in 1961 after hearing Miles Davis' "Kind Of Blue" album. When Michael heard Bill Evans playing "Blue In Green" and "Flamenco Sketches" on that album, he immediately switched his performng instrument to piano--the study of which he continues to pursue today.
Michael has been active in composing jazz and classical pieces since 1961. He is not a prolific composer, but he has tried to maintain a high standard in expressing lyrical elements and melodic and harmonic richness in his music. He has won three composition competitions in the past, and in 2012, his piano sonata "Contrasts" was a finalist in a major composition competition in Greece. In July 2013, Michael won the 2013 American Prize for music composition, chamber music division, for a piece called "Introspections", a work for two classical guitars.
Michael has had two world premier concerts of his music. He has had three recordings produced of his work and had a broadcast of his music on KUSC-FM, Los Angeles. As of 2013, Michael has produced another recording. This piece, "The Molly Suite", was written for Michael's eldest granddaughter, Molly Stuart, when she first began showing an interest in piano. Subsequent to the first piece--"Invention"--Michael would add a new work as Molly's proffiency on the piano increased. The composing of the later pieces was sporadic, but over six years "The Molly Suite" was completed. However, Molly switched her musical emphasis to voice prior to the writing of the last composition, so Michael decided to write an "Epilogue L'Adieu" instead of a more virtuosic piece as a farewell to his and Molly's early musical journey together.
Michael is today attempting to record his jazz compositions--both vocal and instrumental--and is awaiting the recording of his "Processional For Bb Trumpet and Organ". He continues to write new music in both classical and jazz idioms from his home in Gig Harbor, Washington, where he resides with his wife of 25 years, Barbara.