Sunday, August 29, 2010


A lot of the repertoire for two pianos is arranged from orchestral music, but none the worse for that. The sound of two concert grands is uniquely exciting, though it can be cumbersome if the players are not perfectly synchronised, or if they compete rather than cooperate.

Marcelo Bratke and Marcela Roggeri sound as if they have been playing together for a long time. On Monday, they only looked at each other when they started each piece, not needing to afterwards because they felt the music together. It was an object lesson in true ensemble. He played nearly everything from memory, and while she had prompt scores, for much of the time she didn't appear to need to consult them.

Their programme brought together three American composers united by popular culture [this refers to a concert, reviewed herein]. Copland made his own two-piano arrangement of his cowboy ballet Billy the Kid, preserving its lean and airy textures. Just occasionally, in the second number, for instance, dissonances that are absorbed as instrumental colour in the orchestral original sound intriguingly arbitrary in the piano duo version. The hardest thing to make convincing (and get together) on two pianos is probably the broad opening music, which returns at the end. It was very well played.

Danzon Cubano also exists in an orchestral version, though it was originally for two pianos. Bratke and Roggeri got its cheeky rhythmic syncopations perfectly. And they caught the subtle switches of tempo in Copland's El Salon Mexico, arranged by Leonard Bernstein.

Gershwin wrote his Three Preludes for piano solo, and we heard an arrangement which Marcelo Bratke made in collaboration with Julian Joseph, attempting to evoke the sound of a big band. At least, that's what Bratke's programme note said, though the point of a big band sound is surely its brashness, and Bratke's own playing with Roggeri was a bit too refined to create that effect [not included on this CD].

I wonder what the Labeque sisters would have done with the same music, because they fairly thrash their instruments. But while the French girls are unrivalled in their way, these Latin Americans have their own discreet, considerate style which is charming rather than stunning. I don't usually find the Symphonic Dances from West Side Story [not on this CD] charming, exactly, but I'm grateful that Bratke and Roggeri did their very best to make them so. Their recent CD of this programme is available on the Etcetera label, distributed by Chandos Records. Adrian Jack

Check out for a recording of the same repertoire by a different piano duo.

Billy the Kid
1] The Open Prairie 3:10
2] Street in a Frontier Town 4:23
3] Billy and his Sweetheart/Mexican Dance 3:24
4] Celebration after Billy’s Capture 2:28
5] Billy’s Demise 1:18
6] The Open Prairie Again 1:35

7] Danzón Cubano 6:57
8] Variations on a Shaker Melody 5:29
9] Danza de Jalisco 3:56
10] Dance of the Adolescent 6:05

Two Movements from Rodeo
11] Hoe Down 3:10
12] Saturday Night Waltz 3:55

13] El Salón Mexico 9:23

Marcelo Bratke - piano
Marcela Roggeri - piano

Recorded at St. Phillip’s Church, Norbury UK in July, 1999


Horacio said...

Thanks a lot dear friend! I never heard about this versions for two pianos!! Can't wait to listen!!

flurb said...

Thanks for this unusual choice!

Pippo said...

Thank you Scoredaddy I'm very curious to check how this music sound on two pianos, often the different perspective let me grasp aspects that I missed on listening the more familiar orchestration.

Dr. Roberto said...

Thank for this marvelous selection. Never heard of this on pianos.
Downloading and waiting to heard them
Thank you for this post

Hugo said...

The file has problems and missing music

Eric said...

Thank you

copayapu said...

link gead

Scoredaddy said...

new link: