Allusions and beyond PianoDuo Takahashi & Lehmann

• 1 I. Allegro 09:44
• 2 II. Affettuoso 05:53
• 3 III. Allegro 05:58
• 4 Gottes Zeit ist die allerbeste Zeit (Sonatina from Actus tragicus), BWV 106: 02:33
• 5 Aus tiefer Not schrei ich zu Dir, BWV 687 04:36
• 6 O Lamm Gottes, unschuldig, BWV DEEST 03:29
• 7 I. 01:50
• 8 II. 03:05
• 9 III. 02:53
• 10 IV. 01:59
• 11 V. 08:02
• 12 I. Theme. Andante 02:06
• 13 II. Variation 1. Andante con moto 01:18
• 14 III. Variation 2. Vivace 01:04
• 15 IV. Variation 3. Con moto 01:53
• 16 V. Variation 4. Andante 02:28
• 17 VI. Variation 5. Poco Presto 00:59
• 18 VII. Variation 6. Vivace 01:21
• 19 VIII. Variation 7. Grazioso 02:46
• 20 IX. Variation 8. Poco Presto 00:59
• 21 X. Finale. Andante 04:06
• Total Runtime 01:09:02

Info for Allusions and beyond

The third audite recording of the PianoDuo Takahashi & Lehmann presents transcriptions of pre-existing works as well as new compositions permeated with musical quotes and allusions. Drawing on musical history, existing works are approached in diverse ways, from using almost original material through to dissolving the classical concept of time and epochs.

The latest release of the Piano Duo Takahashi | Lehmann - their third recording for audite - presents transcriptions of pre-existing works as well as new compositions permeated by musical quotations and allusions to the works of other composers. Drawing on musical history, existing works are approached in diverse ways, from using almost original material through to dissolving of the classical understanding of time and tradition.

György Kurtág's arrangements of Bach's chorale preludes and Max Reger's transcription of the Fifth Brandenburg Concerto transfer a piece from one medium (orchestra or organ) to another (piano duo) without changing the original composition; Kurtág chose sacred works, Reger a secular concerto. Kurtág's translations for two pianists were the result of a contemplative immersion in Bach's pieces; Reger managed to retain the concerto character whilst creating a transparent opus for two players at one piano.

Brahms' Haydn Variations and Bernd Alois Zimmermann's Monologues also exist in alternative versions for orchestra, written by the composers themselves. In Zimmermann's case, the two versions differ to such a degree that the second one for two pianos, recorded here, should be considered a new composition - a new, second reflection on the idea of the work and the musical material. Bernd Alois Zimmermann integrated numerous quotations, thus displaying the process of transformation of historic music in his Monologues, as well as showing the tension between sacred and secular music. For Zimmermann, 'music about music' does not just mean tracing the long arc of time stretching from Bach's era to our present day, but also separates the traditional understanding of time and epochs out of its linearity.

The Piano Duo Takahashi | Lehmann once again illuminate the multi-faceted cosmos of piano music for four hands at one or two pianos. With their familiar insightful and virtuoso piano technique, the two players manage to combine scholarly programming with passionate expressiveness. Their music-making, both sophisticated and touching, makes even seemingly abstract works accessible to their audience.

Björn Lehmann, piano
Norie Takahashi, piano

PianoDuo Takahashi|Lehmann
was founded in Berlin in 2009. The musicians perform in many European countries as well as in Korea and Japan.

Norie Takahashi first came to prominence by winning awards at numerous competitions, including the International Beethoven Competitions in Bonn and Vienna, the Schubert Competition in Graz, the Leeds International Piano Competition and the Queen Elizabeth Competition in Brussels. After gaining a music diploma in Tokyo, she continued her studies with Klaus Hellwig at the Universität der Künste Berlin. She also received artistic inspiration from distinguished musicians such as Bruno Leonardo Gelber, Robert Levin, Ferenc Rados, Pascal Devoyon and Dietrich Fischer-Dieskau. Norie Takahashi appears as soloist and chamber musician in many European countries as well as in Asia.

Björn Lehmann studied in Hamburg, Lausanne and at the Universität der Künste Berlin with Klaus Hellwig. He also received important artistic inspiration from Ferenc Rados, Leonard Hokanson, Robert Levin, ZoltanKocsis, members of the Amadeus Quartet,HartmutHöll and Irwin Gage. In 2011 Björn Lehmann was madeprofessor at the Universität der Künste Berlin. He regularly gives master classes and appears as soloist andchamber musician in Europe, Latin America and Asia.

Booklet for Allusions and beyond