Performing music for two pianos requires a unique sense of coordination and synergy, something that even seasoned pianists struggle to achieve. However, time and familiarity with one’s partner can refine this specialized form of ensemble playing.
On Sunday afternoon at the Barns at Wolf Trap, Alessio Bax and Lucille Chung—renowned pianists and husband-and-wife duo—demonstrated their remarkable synchronization in a compelling two-piano recital. Their thoughtfully curated program was notable for its selection of rarely performed pieces, with only one well-known favorite, Ravel’s La Valse, featured alongside unexpected gems.
The concert began with Ferruccio Busoni’s Duettino Concertante nach Mozart, a technically demanding reimagining of the Finale from Mozart’s Piano Concerto No. 19. The piece surged with rapid movement, requiring meticulous coordination in its relentless 16th-note passages. Of the two, Bax, seated at the second piano, navigated these intricate lines with notable precision.
An even greater challenge followed with Poulenc’s Concerto for Two Pianos, presented in an arrangement that integrated as much of the original orchestration as possible into the two-piano version. Chung and Bax, maintaining their roles as primo and secondo respectively, infused the opening movement with a zany, circus-like energy. Contrasting slow sections added depth, ranging from smoky barroom ambiance to delicate music-box simplicity. The closing movement, with its frantic pace and chaotic repeated-note motifs, tested their synchronization, yet they delivered it with effortless finesse. Poulenc’s signature polystylistic approach, blending humor with a touch of Mozartian lyricism, made for an exhilarating ride, even as its dense textures occasionally challenged the ear.
After intermission, the duo offered a contrasting shift with two moments of respite—one intellectual, the other sentimental. Robert Schumann’s Six Canonic Studies, originally written for a pedal piano, were later arranged for two pianos by Claude Debussy. In this performance, Bax took over the primo part, lending his distinctive melodic touch to the contrapuntal interplay, while Chung provided a gentle echo. The pieces paid homage to Bach, particularly in the fugue of the final study, though they remained largely introspective. The fifth piece, however, stood out with a lighthearted, playful energy.
Originally, the program included Debussy’s La plus que lente in a four-hand arrangement, but the duo instead opted for Clair de Lune from Suite Bergamasque, arranged for two pianos by Henri Dutilleux. Bax, now on the secondo part, initiated the piece with delicate fluidity, while Chung seamlessly wove in the primo melody, creating a natural sense of expansion. Their use of pedals enhanced the ethereal quality of the piece, producing a shimmering, interwoven soundscape.
The recital concluded with Ravel’s La Valse, arranged for two pianos. Originally conceived as a ballet and later subtitled poème chorégraphique, the piece opened with a shadowy motif—an unsettling half-step figure reminiscent of Jaws. Taking the lead on primo, Bax guided the performance through its stormy crescendos, filled with thunderous bass octaves, dizzying runs, and intoxicating glissandi. The piece reached its climax in a thrilling accelerando, evoking the chaotic unraveling of a dance spiraling out of control.
Bax and Chung’s performance was a masterclass in two-piano collaboration, blending technical prowess, expressive nuance, and fearless interpretation. Their daring program and exceptional execution left an indelible mark on the audience at Wolf Trap.
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