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Press - Piano Duo Accento

news Long Shot Hommage to Max Reger Gala Concert and Laudation for the Master's 130th Birthday - Outstanding Pianists Meiningen. The Brahms-Saal and subsequently the Reithalle have been the locations of celebrating  the master composer Max Reger's 130th birthday last Saturday. Through word, film, and above all music it was tried to review Reger's life and work. A joint gala concert of the Meiningen Theater, the Meiningen Museums, and the Academy of Music and Theatre in Bern, Switzerland doubtlessly made up for the climax of all the tributes. The two pianists Miroslav Boyadzhiev and Doychin Raychev came up with the Introduction, Passacaglia, and Fuge in b-minor, op. 96, a singular work of its kind. It is the two young Bulgarians' technical equipment as well as their unbroken vitality that grants them the authority to appropriately perform this mind-blowing opus. There were those rare piano passages with slightly bent fingers tenderly on the keys. But mostly there were the powerful hits, the fast runs out of the whole wrist or rather the arms, because they were no other ways to create those giant chords. Phenomenal Performance Absolutely trusting in the very spirit that had given birth to this musical show of strength while not avoiding pathos where it belonged, Reger was given exactly what Reger deserved. Still in spite of all these elemental discharges of energy there remained preserved the traditional language of musical form, i. e. the immortal patterns predetermined by Bach. It was a phenomenal performance those two young men had given and which rewardedd them with Bravo calls out of many a competent mouth.     .     Alfred Erck     Monday 17.March 2003     Meininger Zeitung A serenade of quite a different kind The Late Night with the Duo Accento Yet another undiscovered sidereal hour: As part of the ten-part Series of the Decades in which the Opera House aesthetically reviews its last hundred years there was a night with the brilliant piano duo of Miroslav Boyadzhiev and Doychin Raychev, a tandem obviously with no repertory limits whatsoever. On the program that night a decade making connoisseurs' hair stand on end: the heyday of the serial music between 1955 and 1965. However there was no reason to be scared at all, because what they played were five highly interesting, highly different and never boring works. The single fact that these two 29 year old Bulgarians, who had teamed up for the "Duo Accento" about eight years ago, have unearthed so much substance from that short period, proves for their serious artistic ambition. Still it was not just the What but notably the How with which these two piano masters - under the wings of pianist Rada Petkova - could fully win the audience over.    Appreciation for Sounds and Nuances It is this mixture out of a virile musicality doing justice to the responsibility of interpretation as well as to the playful drive. Add to that an astounding technique, a high degree of appreciation for sounds and nuances as well as the precise bravura dialogs. The gloominess of clusters in Bernd Alois Zimmermann's "imaginary ballet" called "Perspectives" weighs exactly as much as the double bottomed elegance of the Presto in Shostakowich's "Concertino". The two Bulgarians create a Serenade out of Henze's "Divertimenti", behind which there hide four interludes from the opera "The Young Lord". And they play Teresa Procaccini's vivacious "Musica barbara" exactly the way the title suggests, so that even the 71 year old composer present gets out of her mind with excitement. Quite understandably also the encore had been written by the former director of the Roman Accademia Santa Cecilia. Thundering applause by the small congregation. j.v. 20.2.2006 MEZ NURNBERG Nachrichten Heap of Rubble in Three Fourths For the finale of their "stylistically wide concert" the piano duo of Miroslav Boyadzhiev and Doychin Raychev had chosen Maurice Ravel's "La Valse", a self-destructive waltz conjuring up the decline of old Vienna during World War One. Thanks to the exactly tuned balance and great precision both pianists fought the unfavourable acoustic conditions as best as they could. The glissandi in triple forte will have been painful for the player of the second piano; the mercilessness of physical violence in smashing the bacchanal three fourth time however grew to become an inexorable experience for the audience. Ravel's demolished waltz marked the end of a concert which thanks to the musical interpretation will not cling to memory as nothing but a heap of rubble.          9.12.2004 That all aspects of composition could be made forgotten by the pure semblance of spontaneity had of course also to be credited to Miroslav Boyadzhiev and Doychin Raychev whose stupendous technique matched literally all pianistic standards. In that night's tremendous finale, Maurice Ravel's La Valse (1919-21), both musicians had of course better not moderated their temperaments: This waltz, so wonderfully put to extremes by Ravel himself, could have been thought as more flexible in agogic terms, even more tawdry, the final catastrophe more brutal, more exploding. So some of it remained too "nice" as that it could actually render the piece's deeps and abysses audible. Anyway, the quality of Boyadzhiev's and Raychev's playing is more rooted in the carefully deep probing for compositional structures - a clear advantage in their interpretation of the Haydn Variations by Johannes Brahms (1873): In a comparatively moderate tempo and with almost luxurious indulgence both pianists traced the contrapuntal ramifications down to their ultimate subtleties and ennobled the final Passacaglia with vehemence and majestic grandezza. 09.12.2004 A lasting impression was granted by the sensual "Regards sur les traditions" for four-handed piano written by Swiss composer Dieter Ammann. Here as well as in Maurice Ravel's "La Valse" - presumably the most bizarre waltz in all music history - in the version for two pianos, both players convinced with their transparent and thoroughly intense interplay. The concert had begun playfully with the "Haydn Variations" by Brahms and ended with Ravel's waltz as a catastrophe shaped into sound. Not just musically but also emotionally that night's listeners were sent on a truly adventurous tightrope walk. 09.12.2004 The two Bulgarians impressed by virtuoso technique, lively presentation, and organic interplay. In  Maurice Ravel's "La Valse", a composition living on fluctuating tempos and contrasting sounds, the pianists reached the climax of their interplay. 09.12.2004 This website is best viewed with Flash!