Granados, Piazzolla, scarlatti

Granados, Piazzolla, scarlatti

Granados, Piazzolla, scarlatti

Duo Résonances


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The works on this disc are travel stories, real or imaginary, of which Spain is the heart. Duo Resonances  interprets them with their magnificent qualities: musicality, virtuosity, originality in the choice of repertoire and, above all, the great artistic collaboration that unites them and can be heard in each of their interpretations.


Duo Resonances - Frédérique Luzy and Pierre Bibault - is a French guitar duo based in Brussels, which has won several international competitions: Olsztyn - Poland (2010),  Fondation Bellan - Paris (2011), Luigi Mozzani - Italy (2011 ) and first prize at the International Competition of Chamber Music in Montalto - Italy (2011).

The two musicians have performed on many international stages - Belgium, Canada, Spain, France, Italy, Morocco, Netherlands, Poland, Sweden, Switzerland, Ukraine - in prestigious venues such as the Philharmonic Lviv, Khmelnitskie and the Museum of Vinnitsa (Ukraine), the Cathedral and the Musée d’Art Contemporain in Liège, the Tyska Kyrkan Stockholm, the Chapel Bon-Pasteur of Quebec, or Flagey, formerly Maison de la Radio Nationale de Belgique in Brussels.

Frédérique Luzy & Pierre Bibault have shared many festivals with renowned artists such as Anne Sofie von Otter, Odaïr Assad, Zoran Dukic, the Ensemble Itinéraire, and have played for the Quebec TV or Radio 4, the Dutch National Classic Radio.

Approached by contemporary composers, Frédérique Luzy and Pierre Bibault are particularly devoted to enriching the program for two guitars by emphasizing the creative aspect. In the program, original and unpublished transcriptions (Alberto Ginastera, Enrique Granados, Domenico Scarlatti), widely acclaimed by the public and professionals, can also be found.

Their curiosity leads them to collaborate with the art world in innovative projects that transport their music beyond the concert hall. This richness and openness allow Duo Resonances to be recognized by the Department of Cultural Diffusion of the French Community of Belgium.

In this first disc, they deliver a subtle and personal vision of a smart and brilliantly interpreted program that immerses the listener in the heart of Spanish and Argentinan music and dance.


Duo Resonances - Frédérique Luzy & Pierre Bibault

Guitars Jim Redgate, Australia (2007), strings: D’Addario and Pyramid

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    Granados, Piazzolla, scarlatti

    Granados, Piazzolla, scarlatti

    Duo Résonances

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    he works on this disc are travel stories, real or imaginary, at the heart of which is Spain.

    Composer of the Baroque era, Domenico Scarlatti settled in Madrid, after a Neapolitan success and a detour to the court of the King of Portugal. Professor of the Infanta, he followed her when she became Queen of Spain, taking possession of a court he then never left.  

    A century later, Enrique Granados and Federico Mompou took a very different direction. After their early musical training, they left Barcelona for Paris, the capital of the Arts, where they met the most famous composers, both French and Spanish! Mompou stayed for twenty years before returning to his hometown in his late forties, where he lived for nearly another half a century. Granados‘ life was shorter. In 1916, aged forty-eight, the composer went to New York to witness the triumph of his opera Goyescas. In full glory, he was then invited to give a concert at the White House. But when returning to France, as his boat was approaching the French coast, it was torpedoed by a German submarine.

    For Ginastera and Piazzolla, the journey began even before birth. Both Argentinian, Ginastera was born from a Catalan father and an Italian mother, and Piazzolla from Italian parents. They received an early European education, particularly Spanish. Alberto Ginastera completed his education in New York with Copland before returning to compose and teach in Argentina. Among his many students, the most famous was Astor Piazzolla, who worked under his direction for five years before winning a scholarship to study with Nadia Boulanger in Fontainebleau.



    owever, Spain is ever present in their works. Scarlatti’s have essentially a baroque style, present in Europe at his time. We find the taste for dances that were in vogue - near jitter (K 9), walking (308 K) and passepied (K 430) - all with their binary cutting times, their typical modulation at the end of the first part and a return to the main tone to finish. Granados‘ Valses poeticos have quite the same style. Their spirit certainly owes a lot to a Spanish influence, but also finds its essence in gentle salons and Romanticism of the nineteenth century.

    The aesthetics of Mompou are quite different, attracted by the folk melodies that he sometimes quotes or reinvents freely. In Cançons i Dances, form and style show the popular alternating melancholic melodies, preludes to more lively dances. The composer often renounces romantic elements in favor of those stemming from folklore: lack of development, and even modulation, and focus on the expressiveness of the melodic line and the way in which it is set.

    In contrast, the language of Ginastera refuses both chromaticism and the wealth of harmonies to create one of the most representative musics of South America. Considered as one of the most important composers of his generation, he kept in his suite Danzas Criollas particular South American musical features - well audible in the finale  - while adding to them a technique inherited from European tradition.

    Similary for Piazzolla, whose fate joined Argentinian tango, slum dances accepted by the Argentine high society only after being adopted and, somehow, refined by Paris. Upon his arrival with Nadia Boulanger, deciding to get rid of his mass influences, Piazzolla showed the great teacher only his pieces   of academic inspiration: 

    «One day, Nadia Boulanger told me that everything I showed her was well written, but she couldn’t discern the spirit. She asked me what kind of music I played in my country.» Piazzolla only admitted this  carefully hidden tanguero «past» two days later: «Nadia looked me in the eye and asked me to play one of my tangos [...] So I started with Triunfal. I don’t think I had got through half, when Nadia stopped me, took my hands and [...] said: «Astor, this is beautiful, I like it, it is the true Piazzolla, never give up.» And that was the great revelation of my life.» His Tango Suite, of staggering difficulty, shows both his great instrumental mastery - learned from Ginastera - and the adventurous freedom of his writing.

    This suite is the only part directly written for guitar duo.

    The other works on this disc are transcripts, almost all from Frederique Luzy and Pierre Bibault themselves, and the pleasant surprise of their first record is to discover the care and skills that they show. Transcribing is not copying and must consider the new instrument, transposing sometimes to find the best tone. Duo Resonances does this with great skill, using all the resources of the guitar in the right place. Their ample sound is more grating when playing near the bridge,  violent in the rasguedo - often violent accords in Spanish music - or delicate and ethereal in the melodies and chords played in harmonics. Virtuosity spells serve free expression in the choices: natural and artificial harmonic associations produce a range of quite dazzling colours, still enriched by the the possibilities of scordatura  - the different ways to tune instruments, generally to extend towards the bass.


    The last voyage from which we hear the influence is from the Duo Resonances themselves. Not the physical travel through their numerous concerts across Europe and beyond, but rather a slow inward journey that allowed them to expand their magnificent qualities: musicality, virtuosity, originality in the selection and, above all, the great artistic complicity that unites them, and which can be heard in each of their interpretations.


    Philippe Cathé