Complete Recordings For Two Pianos And For Piano Four Hands Vol 1 & 2

Available in Audiophile 88kHz/24bit

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Album Name Length Format Sample Rate Price
Complete Recordings For Two Pianos And For Piano Four Hands Vol 1 & 2 2:16:42 $29.98
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# Track Title Length Format Sample Rate Price
1 Symphonic Dances, op45 - Non allegro 11:28 88/24 Album only
2 Symphonic Dances, op45 - Andante con moto 09:36 88/24 Album only
3 Symphonic Dances, op45 - Lento assai 13:22 88/24 Album only
4 Suite n2, op17 - Introduction 04:30 88/24 Album only
5 Suite n2, op17 - Valse 06:05 88/24 Album only
6 Suite n2, op17 - Romance 07:36 88/24 Album only
7 Suite n2, op17 - Tarantella 06:25 88/24 Album only
8 Suite n1, Fantasy, op5 - Barcarolle 07:55 88/24 Album only
9 Suite n1, Fantasy, op5 - A Night For Love 06:21 88/24 Album only
10 Suite n1, Fantasy, op5 - Tears 06:04 88/24 Album only
11 Suite n1, Fantasy, op5 - Russian Easter 02:39 88/24 Album only
12 Russian Rhapsody 09:11 88/24 Album only
13 Romance for 4 hands 02:11 88/24 Album only
14 Six Morceaux op11 - Barcarolle 05:48 88/24 Album only
15 Six Morceaux op11 - Scherzo 03:14 88/24 Album only
16 Six Morceaux op11 - Russian Theme 04:45 88/24 Album only
17 Six Morceaux op11 - Waltz 03:57 88/24 Album only
18 Six Morceaux op11 - Romance 04:00 88/24 Album only
19 Six Morceaux op11 - Slava (Glory) 04:33 88/24 Album only
20 Valse for 6 hands 01:15 88/24 Album only
21 Romance for 6 hands 04:08 88/24 Album only
22 Polka Italienne 02:03 88/24 Album only
23 Russian Rhapsody (alt take) 09:36 88/24 Album only

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℗ © 2014 Velut Luna

Sergej Vasil’evic Rachmaninov, the Russian pianist, director and composer who became an American citizen was completely alienated from the national trends of the grour of five. This estrangement led him to follow Tchaikovsky in his decision to use a more Cosmopolitan and westernized language, in which hardly any trace of his Russian traditions could be found. He defined music as “a peaceful moonlight night”, as the rustling of summer leaves, as the distant tolling of bells at dusk, he believed that “music is born only in the heart and it communicates with the heart, it is love, that poetry is music’s sister and the mother of suffering”. It was at his piano, his favourite instrument, that Rachmaninov dediicated wonderful pages marked by a style so great in virtuosity, which has been completely mastered by the Duo Trevisan. Brother and sister, the Duo Trevisan, are very talented musicians and accomplished, who have pursued similar cultural and artistic paths.

The Symphonic Dances op.45 belongs to the Maestro’s last creative period and they are influenced by a rhythmic intensity so unknown to the earlier Rachmaninov. They derived from a “short score” (a score reduced to four pentagrams on August, 10th, 1940) from which the composer obtained first the version for two pianos (which had already been performed by him and Horowitz in the September. The Three Dances are respectively a Non Allegro, an Andante con moto and a Lento assai: the first one alternates from vivacious moments to mournful ones, the second recalls the brilliant and lost world of La Belle Epoque, the third is based on the theme of Dies Irae, which towards the end of his life had become a sort of “memento mori”.

The Suite op.17 was composed in a period of crisis after the failure of the first symphony, and can be considere a unique and mature piece where virtuosity is not an end in itself but it is shaped by expressive demands to become an original language with which to describe an impossible restlessness where the only answer lies in the past, which is seen with nostalgia and regret. It was written between December 1900 and April 1901, and it was firts performed by Rachmaninov and Aleksandr Siloti. The Suite unwinds in foor movements changing in character and joined by a captivating instrumental structure, an introduction to the tempo of a march, a Walzer, a Romanza and a stirring Tarantella which demand great skill and presence from the performers.

The Suite op.5 is marked by a language mindful of the Lisztian lessons. The four movements - Barcarola, La notte... l’amore, Le Lacrime, Pasqua Russa - are preceded by epigraphes of Lermontov, Byron, Tjucev, Chomiakov and they connect for a timbre research carryed to the opposite limits of the keyboard, from low sounds to high sounds, with a insinuating melodic character and with a idiomatic style rich of effects and of technical interest. The last track wanders the native country of the composer with the evocation of the Novgorod bells and demands interpreters great intensity.

The Russian Rhapsody on a Russian theme for two pianos dates back to 1891 and was composed between January 12th and 14th. The only public performance of this piece, imbued with heroic and stirring spirit of Rachmaninov, was held the following October, performed by the composer himself and by Josef Lhevinne. The score, according to procedures, is parallel to Maestros like Claudio Monteverdi or Domenico Scarlatti, and it presents a duplicate version with substantial harmonic and idiomatic variants.

The Romance in G major, a delicate pieces for piano four hands is dated 1896.

The Six Duets op.11, Barcarole, Scherzo, Russian Theme, Valse, Romance and Slava, also for four hands piano, short idyllis very various in expression and rich in color are dated 1894.

The Waltz in A major and the Romance in the same tonality, for six hands piano are dedicated to his cousins, the Skalon Sisters, Natalya, Lyudmila and Vera. They were resectively composed in 1890 and 1891.

The Italian Polka, a lively binary rhythm, robust and quite danceable is joyful in the version presented with the trumpet. Its original version was written in 1906.

Symphonic Dances, Suite op.17, Suite op.5:
Original analog recording was made at The Auditorium Modigliani, in Padova, on March, 6-7-8, 1997

All the other compositions:
Original analog recording was made at Zanta Studio, in Camponogara on December, 19-20-21, 1997.
The recording was made using the 1/4” two tracks master Teac 2-B RTR, at 38 cm/sec. HD digital remastering by Marco Lincetto was made at Velut Luna Studio, in Casalserugo, on June 11, 2014, using Velut Luna Analog Console and stereo AD converter Prism Sound
AD-2 Dream set at 24bit/88.2kHz

Production: Velut Luna
Executive Producer: Marco Lincetto
Musical producers: Filippo and Teresa Trevisan
Recording, mix and mastering engineer: Marco Lincetto