‘Smashing, but not breaking, these wonderful artists respect style and technique but state clearly their own voice, young and bold, full of life and humour, expressive and highly musical.’
La Provincia. Diario de Las Palmas de Gran Canaria
‘We were ready for them. And they came with the expected success that goes with them [...] the wait to witness a full concert with them was worth it.’
Málagahoy
‘Splendid and masterful virtuosity, unprecedented risk, exceptional style become one in these two musicians […] One hears works of Mozart very few times in such a convincing way.’
Stuttgarter Zeitung
‘A prodigy: audible beauty and virtuosity in their exceptional innovation of piano skill.’
El País
‘They made two pianos sound like the Wiener Philharmoniker’
Panamá América- Epasa
-You say that you need to reclaim the piano duo, have you ever felt typecast as minor music performers?
-The Piano duo still has that aura of amateurism. It is still in our minds the view of the British Victorian houses with two amateur girls playing four hands. But that already happened to the string quartet, which at the beginning of the twentieth century was also considered a minor formation. But when string quartets quality were created that concept changed... And it can be happening the same with the pianos duo... Our main activity is the duo, which we believe it has an absolutely wonderful repertoire. It is still hard to sell something like that.
-¿Also to producers?
-'Fortunately, fewer and fewer. But it is still hard, you only have to take a look to the presence of the pianos duo in series and festivals ... there is still a lot to be done. And to do it, duos have to flourish.
- On the other hand, pianos duo requires, like all chamber music, a virtually identical way of breathing music. How do you resolve the differences that undoubtedly arise in the study of scores?
-'The first thing is to have a very high technical training and ability to understand and listen... There is of course a very intense and deep analytical work to do of harmonic, melodic, rhythmic structure of the works ... Once we made this work, we live this music and feel it while we play.
-In Works such as Ravel's La Valse or Porgy and Bess Fantasy that Grainger made on the original Gershwin, Impulse has an opulent orchestral sense. Were you looking to convey sense of grandeur and virtuosity precisely as a way to fight against the aura of amateurism you spoke before?
We are very pleased with the results of Impulse. And of course we have thoroughly explored the orchestral side of the two pianos, in La valse it looks great. Actually this formation, both two pianos and four hands, is spectacular, and it is what we want the public to grasp. Of course you have to get suck into it and take the time and dedication it deserves. On the four hands the instrument is shared. That creates an intimacy between the performers that no other musical activity can give you ... when you do the right job and everything flows, you can get really magical atmospheres.
-You registered your debut album on a Granada record company, Iberia (or IBS Classical). In Andalusia good things can be done, right?
-Of course. We know Paco Moya and Gloria Medina for a long time ago, we have participated in their courses in La Zubia and their concert series. And, as producers, their work is on par with the best ones. They managed to give our album an exceptional sound, and we are very pleased with it.
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