Emotion is always new the "Sacre" even played 4 hands. Conversely "Petrushka" is somewhat less convincing

Like the Labèque two young brilliant and attractive sisters from Belgrade, we interpret the piano transcriptions of the masterpieces of Stravinsky: 2 ballets "The Rite of Spring" (created in 1913 with the scandal we know) and "Petrushka" (created in 1911). The program then decorates the "Easy Pieces" for piano 4 hands, first to the right hand and for the left.
The recording took place in Paris CNSMD in 2007 and went Mirare in 2011.

The booklet informs us that "Stravinsky conducted several piano adaptations of his ballets, largely for the sake of financial profitability. (...) Without being a great virtuoso, he was a good pianist, who considered primarily the piano as a working instrument on which he composed, where a piano repertoire quite modest quantity. "(...) It is at the request of the pianist Arthur Rubinstein, his friend Stravinsky, with finance, transcribed for piano in August 1921 three movements from" Petrushka "in a difficult version himself claimed it was impossible for him to play, but said that in any case he had sought to reproduce the sound of the orchestra at the piano, but rather to focus essentially pianistic release. "
Stravinsky wrote in his memoirs: "In composing this music, I had a vision of a much suddenly unleashed puppet who, through his diabolical cascades of arpeggios, exasperating the patience of the orchestra, which in turn replicates it by threatening fanfares, a terrible fight which reached its climax ends with the plaintive and painful collapse of the poor puppet. "

I think the transcript loses the pleasure ignited shimmering timbres of the orchestra, whose effects take less this sparkling and mesmerizing terrain.
The irresistible momentum of the dance is still attractive (15, 17), with these ersatz wobbly waltz (21), but these constants breaths constantly revived.

"The Rite": centerpiece of the entire musical repertoire, here apprehended by 4 hands and always transcribed by the composer. But the pleasure is!
The booklet recalls he loved playing 4 hands with C. Debussy, and this partition has been written in this way in view of the 1913 ballet rehearsals.

A partition of a high density, with irresistible changes in tempi, rhythms and moods. At the height of his rough energy, one is swept up in a wildly paroxysmal flow. A fierce impetuosity 4 hands but superbly directed in full force.
Seduction always operates by the duo; with amazing audacity and always remains palpable a century later. With subliminal resonance of the orchestra that we rehear through this interpretation.

Irruptions of brilliance, of contained violence; constantly recommenced, with a beautiful here fingering dexterity.
The orchestral effects are necessarily smooth sometimes with a lack of breadth but still felt good colorful moments with virtually resting area for the hearing.
They play very keen on touch "dry", or resonant with the pedal. Often "strong" with a great passion when to give the rendered barren agitation!
The bouncing excitement and always irresistible this "Sacre" always works, regardless of the selected size and thus also by this interpretation. Emotion is always new, always ready with this breath of scandal arise and burst.
We must let ablaze, getting carried away by the lyricism, its vanguard undeniable.

He relates in his "Memoirs" that "very hostile demonstrations reached by the public, [he] left the hall from the opening bars of the prelude, disgusted by the laughter and mockery. "

We do not question the talent of the two pianists but rather the principle of these yet faithful transcripts and their necessity. The booklet also admits that within the "Rite" for example, "the shimmering colors does the orchestra are confused."
These are other apprehensions of these masterpieces, but the "Sacre" keeps the scandalous vein over a "Petrushka" innermost lyrical. All artwork as they bear their own transcriptions? They need for it a "birth" perfection.

"Easy pieces for piano 4 hands", being the first 5 to "easy right hand," the last 3 instead for "easy left hand" are shimmering, thumbnails almost like running or working exercises . They are no less pleasing, with the return of melodies that stand out. Always with that will touch hammered in turn leaping or appeased, with graceful and rapid mobility as a recreation.

A duo to follow, of course, that flies in turn delicacy gathered more wild hammering and committed, with irresistible technique and a hot vitality.