Barnabás Dukay
Oroszlános Kút a növekvő Holdnál (Lion Fountain by the Growing Moon) – tonal poem for two pianos (world premiere)
J. S. Bach
Seven chorale preludes, arranged by KurtágGyörgy for two pianos, BWV 611, 619, 644, 618, 600, 614, 633
Barnabás Dukay
A hegy fái (The Trees of the Mountain) – two-part canon motet for three pianoss for three pianos
J. S. Bach–Barnabás Dukay
… a teljesentisztahajnalszegénység… (... the completely pure dawn poverty) – choral prelude and five canons for three pianos
Barnabás Dukay
…napfényből, vízből és kövekből… (... from sunlight, water and stones...) – tonal poem for two pianos
Couperin–Barnabás Dukay
Angyaloklátogatása a mulandóságforrásánál (Angels’ visit at the fountain of transience) – two rondos for two pianos
Satie–Barnabás Dukay
Second piece of Le Nazaréen– instrumental responsory for two pianos
J. S. Bach
Austiefer Not schrei' ichzudir, BWV 687 – arranged by GyörgyKurtág for the four-handed piano
Barnabás Dukay
A kútnál – áradó vizek idején (By the Well – At the Time of Flooding Waters) – three paraphrases on a tonal poem, for two pianos
Some may be surprised to learn that compositions for four-handed and multiple pianos are among the most demanding pieces of chamber music. It takes the utmost concentration and precision to time two notes that are produced the same way. It is no accident that truly significant piano duos can collaborate not only in musical matters.
“Dezső Ránki and Edit Klukon play the piano as if they were a single person,” says the composer, Barnabás Dukay. “When they first played a piece of mine, I was immediately astonished by this singular phenomenon. Also, they always approach my compositions the way I imagined they should be. Their mere playing is a continuous source of inspiration for me. I’m not a very prolific composer, but compared to my own output, I have written a considerable number of two-piano pieces for them, almost twenty, and since they started performing as a trio with Fülöp, I have made quite a few three-piano works as well. Music for the solo piano is a field for which too many pieces have been written; I have not much to say in that field, not much of an angle. By contrast, I see vast possibilities in chamber music for two or three pianos—and this is not unrelated to Dezső Ránki and Edit Klukon.”
Presented by: Palace of Arts
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