Two Pianos Archive

Kris Davis and Craig Taborn – Octopus – Pyroclastic 

Kris Davis and Craig Taborn – Octopus – Pyroclastic 

Two are better as one. Kris Davis and Craig Taborn – Octopus [TrackList follows] – Pyroclastic PR 03, 58:38 [1/28/18] ****: (Kris Davis – piano; Craig Taborn – piano) What’s better than one? Two, of course. Duets in jazz are nothing new. But two pianos improvising together is still somewhat rare. Such collaborations need simpatico, communication and two minds working as one. Such is the case with Kris Davis and Craig Taborn. The two were part of Davis’ 2016 CD/DVD, Duopoly, a series of duets with Bill Frisell, Tim Berne, Julian Lage and others. During their time in the studio, it became evident Taborn and Davis had a stimulating chemistry. The two decided to go out on the road on a 12-date tour in Autumn, 2016 with engineer Ron Saint Germain. The result is the hour-long, six-track live document, Octopus, issued on Davis’ Pyroclastic imprint. The performances, which run in length from seven minutes to nearly 15 minutes, incorporate pre-composed material; wholly improvised sections; and two carefully chosen cover tunes. Taborn and Davis’ conversant style is parallel to the free jazz of likeminded pianists such as Cecil Taylor, Don Pullen or Paul Bley. Throughout the program there’s a sense of […]

The Labéque Way (2017)

The Labéque Way (2017)

A wonderful documentary on probably the leading two-piano team in the classical world. The Labéque Way (2017) Cast: Katia & Marielle Labéque, Alessandro Baricco, Sir Simon Rattle, Semyon Bychkov Director: Félix Cabez Studio: EuroArts Music International 2064058 (3/3/17) Video: 1.33:1 for 16:9 screens, color Audio: English, PCM stereo No region code Extras: Complete performances of POULENC: Concerto for 2 Pianos & SAINT-SEANS: Carnival of the Animals for 2 Pianists & Orch. Length: 90 min. Rating: **** The New York Times says this is the best piano duo in front of an audience today, and the legendary piano duo of the Labéques is difficult to label, getting into avant-garde and flamenco as well as classical areas. They trace their Spanish roots with playing of Ravel’s Bolero, complete with a special percussion section of Basque origin. Their friends and collaborators appear in the film, as well as performances of works of Mozart, Schubert, Ravel, Albeniz, Golijov and Gershwin. The duo commissioned a new two-piano concerto especially for this film, Nazareno.  A truly delightful documentary and the sisters look and play as lovely as ever.  The mastering of ordinary DVDs has gotten so good that one would easily think this was a Blu-ray, […]

SAINT-SAENS: Music for Piano Duo and Duet, Vol. One = Martin Jones & Adrian Farmer, p. – Nimbus

SAINT-SAENS: Music for Piano Duo and Duet, Vol. One = Martin Jones & Adrian Farmer, p. – Nimbus

A deliciously joyful collection of four-hand work to complement your Saint-Saens library. SAINT-SAENS: Music for Piano Duo and Duet, Vol. One = Tarantelle, Op. 6; Duettino in G Major, Op. 11; Le Rouet d’Omphale, Op. 31; Koenig Harald Harfagar, Op. 59; Septet: Menuet & Gavotte; Polonaise, Op. 77; Feuillet d’album, Op. 81; Berceuse, Op. 105; Scherzo, Op. 87; Pas redouble in B-flat Major, Op. 86 – Martin Jones & Adrian Farmer, pianos – Nimbus Alliance NI 5940 65:35 (8/12/16) [www.wyastone.co.uk] ****: This recording (May & October 2015) presents the first of two volumes of original compositions and arrangements for piano duo and duet by Camille Saint-Saëns. This program offers the substantial Scherzo, Op. 87 and Polonaise, Op. 77 for two pianos, alongside a number of smaller works for two pianos and piano four hands. Saint-Saens (1835-1921)himself re-cast several of his chamber music compositions for piano-duo performance, as in his 1857 Tarantelle, Op. 6.  Typically, this composer’s music enjoys the brio of life, its sparkle and elan. Playful clarity combines with serenity in craft and security of expression. The other significant chamber music arrangement, from the 1880 Septet, Op. 65, arranges the staid Menuet & Gavotte in liquid tones. Two orchestral […]

SMETANA: Ma Vlast – Evelinde Trenker and Sontraud Speidel, pianos – MD&G Gold

SMETANA: Ma Vlast – Evelinde Trenker and Sontraud Speidel, pianos – MD&G Gold

SMETANA: Ma Vlast – Evelinde Trenker and Sontraud Speidel, pianos – MD&G Gold Records MD&G 930 1960-6 multi-channel SACD with additional 2+2+2 80:00 (8/5/16) [Distr. by eOne] ****: A unique transcription of the Smetana classic arranged for two pianos. Smetana’s Ma Vlast is a standard part of the concert repertoire. It was the composer’s manifesto of national destiny for Czech listeners and it went on to worldwide acclaim. Smetana debuted the piece in 1882, and by that time the composer was almost completely deaf. In structure, it is similar to Lizst’s symphonic poems. Heard with a full orchestra it’s a thrilling piece. Here we get something a little different, with a performance for duo pianos by Eveline Trencher and Sontraud Speidel. The two virtuosi have toured the world in concert, playing acclaimed transcriptions of Mahler and Bruckner at Lincoln Center and at various venues and festivals around Europe. I can’t say I prefer the Smetana for two pianos, but it is a captivating listen. The use of two pianos provides a tonal depth that one piano would not, and the pianists preserve the emotion and lush dynamics of the piece. It’s a surprisingly good listen. The 5.1 channel SACD is […]

BRUCKNER: Sym. No. 9 arr. for 2 Pianos & Mass No. 3 – HDTT audio-only Blu-rays

BRUCKNER: Sym. No. 9 arr. for 2 Pianos & Mass No. 3 – HDTT audio-only Blu-rays

Two newly-recorded Bruckner items in hi-res surround on Blu-ray. ANTON BRUCKNER: Symphony No. 9 in d arr. for Two Pianos  – Till Alexander Korber & Reinhold Puri-Jobi, pianos – HDTT 4-channel 24/192 (2015) DTS-HD MA audio-only Blu-ray ****: ANTON BRUCKNER: Mass No. 3 in f – Cynthia Clayton sop./ Melanie Sonnenberg, mezzo/ Joseph Evans, tenor/ Timothy Jones, bass-bari./ Sigurd Ogaard, pipe organ/Houston Sym. Chorus/Moores School Sym./ Franz Anton Krager – HDTT 5-channel 24/96 DTS-HD MA audio-only Blu-ray, TT: 1:18:43 ****: Considering the orchestral impact of most of the Bruckner symphonies, to reduce the immense sonics, including major crescendos, of the full orchestra to just two pianos in an arrangement seems a bit unneeded. However, this live public concert (just recorded by John Proffitt last year at Stift St. Florian in Austria) by the two pianists does stress the clarity of Bruckner’s themes and counter-themes and shows that he really poured everything he had into his Ninth Symphony – which he worked on up to and including the day of his death. A German author and critic, Karl Grunsky (who died in 1943) transcribed all nine of Bruckner’s great symphonies for two pianos, and this is the last of them. This […]

BRAHMS: Sonata in f minor for 2 Pianos; Variations on a Theme by Haydn – Eleonora Spina & Michele Benignetti, pianos – Brilliant Classics

BRAHMS: Sonata in f minor for 2 Pianos; Variations on a Theme by Haydn – Eleonora Spina & Michele Benignetti, pianos – Brilliant Classics

BRAHMS: Sonata in f minor for Two Pianos, Op. 34b; Variations on a Theme by Haydn, Op. 56b – Eleonora Spina & Michele Benignetti, pianos – Brilliant Classics 94956, 60:22 (7/31/15) [Distr. by Naxos] ****: Two of the Brahms orchestral works have their alternate egos realized in glowing terms on two pianos. This first disc in a projected complete series of Brahms’s duo-piano works, all to be recorded by the young Italian musicians Eleonora Spina and Michele Benignetti; this pairing of two-piano arrangements of larger scores derives from sessions 24-25 July 2014. Brahms in 1871 had already worked his 1864 Two-Piano Sonata from a string quintet, only to have had both Joachim and Clara Schumann declare that its form suited neither medium satisfactorily. The task of composing his first symphony lay ahead, and several of the motifs of the first movement would find heir way into that long-delayed work. But rather than destroy the Sonata, Brahms went forward with this publication, dedicating the score to Princess Anna of Hesse. Brahms would then settle for a hybrid of his former ideas, the Piano Quintet, Op. 34, as a fit medium for its weighty, symphonic conception. The opening Allegro non troppo gravitates […]