Audio

Libertango – Astor Piazzolla

Libertango is one of the most famous pieces composed by argentinian genius, composer and bandeonist Astor Piazzolla ((1921-1992). We play a great arrangement for piano duet by japanist pianist Kyoko Yamamoto. We enjoy a lot to play Piazzolla´s music because of the passion and power on it. His music is more than tango, is universal and his personal style achieved to build a bridge between popular and classical music. His legacy is huge. We hope you like our rendition of his music.

Rapsodia para dos piano – Diego Vega

For many years, creating a sense of permanent motion through harmony and voice leading has been one of Diego´s main interests in composition. He has found inspiration in aural illusions such as the Shepard tones, as well as in the optical illusions created by M.C. Escher. In the brief Rhapsody for 2 pianos, he created a progression that moves permanently in contrary motion and expands its register from a unison to 3 octaves over the course of the entire piece. This constant expansion of the register is only briefly interrupted in the middle section of the piece, where an unstable development unfolds but finally succumbs to the strong gravitational force of the opening movement.

Máquina III – Antonio Correa (Kolumbien)

This piece is for two pianos by colombian pianist and composer Antonio Correa:
http://antoniocorreac.tumblr.com/https://soundcloud.com/antonio-correa
Hier some notes from the composer himself:
“A funny little thing about the title of the piece: Máquina I and Máquina II never left the early draft stage, so there is no real reason to actually call this particular piece Máquina III. Somehow, the title makes sense to me, and I would not have it any other way.The piece was written in May of 2009 and it was originally conceived for two harpsichords. Very soon I realized that my pretension to have this piece actually performed on harpsichords did not make sense in the musical environment I was involved in back in 2009 was ludicrous. Maybe today, as my pieces have gradually gained some popularity outside my own country, I should revisit the issue. For now, I am more than happy this piece lives on as a piano duo.In any case, the whole idea of the piece was to create a sort of mechanism, an assemblage of two instrumental parts that could create a larger “being”, but as the American composer Marc Mellits mentions regarding his own “machines” the result is much more interesting than the simple addition of parts. Indeed, I attempted to give room for the rising of musical events that could not have been foreseen when I was writing the individual parts (improbable melodies, awkward chords, things like that). The result is this motoric piece that it doesn’t seem able to stop by itself. It just stops because it has run out of energy.”

Gottes Zeit ist die allerbeste Zeit BWV 106 – (Bach/Kurtág)

This is a transcription for piano four hands by György Kurtág of the Sonatina from the Cantata BWV 106 “Gottes Zeit ist die allerbeste Zeit” from J.S. Bach´s.
Recorded in Bremen- 2016Audio: Juan Manuel Nieto

Oblivion – Astor Piazzolla

A wonderfull tango by argentinian genius Astor Pizzolla.

TICK – Vilius Lakstutis

This is a piece for Piano Duet by Lithuanian composer Vilius Lakštutis. A work full of Rhythm, drive and fun. We hope you enjoy it the same as we do!

Mr. McArthur – Antonio Correa (Kolumbien)

This piece is also for two piano composed by Antonio Correa
http://antoniocorreac.tumblr.com/https://soundcloud.com/antonio-correa
From the composer:“In 2009 I got a commission for an ensemble piece that called for trumpet, electric guitar, cello, bass and piano. When working on my sketches for it I saw the potential in it as a multiple piano piece so I decided to work on two separate versions at the same time, thus Mr. McArthur came into existence. It is my understanding that the ensemble version of it was played once by the people that commissioned it and never again performed by them (my guess is that they did not like the music one bit, but felt compelled to play it). I never made the score available to other ensembles, as I felt discouraged by the poor reception the piece had by my commissioners. As for the multiple piano version, it only existed in the form of a recording, as it was simply impossible to have the amount of pianos required to play the music available to me in a concert situation.
The piece itself is in way homage to Argentinian composer Alberto Ginastera, or better recognition of the deep impression the last movement from his first Piano Sonata caused me as a piano student. Much in the guise of the music I was writing at the time, it is energetic music that makes great demands on the performers, perhaps not technically but in terms of intention and character. “

Losing the Keys