Weigold&Böhm


  • Lisa Batiashvili

    Lisa Batiashvili
  • Denys Proshayev

    Denys Proshayev
  • David Garrett

    David Garrett
  • Concerto Köln

    Concerto Köln
  • Nicola Benedetti

    Nicola Benedetti
  • Venice Baroque Orchestra

    Venice Baroque Orchestra
  • Jos van Immerseel

    Jos van Immerseel
  • Philippe Jaroussky

    Philippe Jaroussky
  • Giuliano Carmignola

    Giuliano Carmignola
  • Miguel Harth-Bedoya

    Miguel Harth-Bedoya
  • Anima Eterna Brügge

    Anima Eterna Brügge
  • Chouchane Siranossian

    Chouchane Siranossian
  • Tal & Groethuysen

    Tal & Groethuysen
  • Alexandre Tharaud

    Alexandre Tharaud
  • Andrea Marcon

    Andrea Marcon
  • Rundfunk-Sinfonieorchester Berlin

    Rundfunk-Sinfonieorchester Berlin
  • Raphaela Gromes

  • Jean-Yves Thibaudet

    Jean-Yves Thibaudet
  • Javier Perianes

    Javier Perianes
  • Jean Rondeau

    Jean Rondeau
  • Russische Nationalphilharmonie

    Russische Nationalphilharmonie
  • Shao-Chia Lü

    Shao-Chia Lü
  • La Cetra Basel

    La Cetra Basel
  • Orfeo 55

    Orfeo 55
  • Katia & Marielle Labèque

    Katia & Marielle Labèque
  • Regensburger Domspatzen

    Regensburger Domspatzen
  • Ensemble Artaserse

    Ensemble Artaserse

Yaara Tal & Andreas Groethuysen inspire with their new album

On 14.08.2020 Yaara Tal & Andreas Groethuysen released their new album with the 18 studies for two pianos by Reinhard Febel based on Bach's Art of the Fugue. The studies were released on a double CD as world premiere recording and are available under the following link.

In an interview with the Fono Forum (October 2020 edition, by Arnt Cobbers) the duo explains: "Every note of the 'Art of the Fugue' is included, but not always in the way one expects. Sometimes Bach can even be heard in the original, but often it is also alienated, supplemented, overwritten, resulting in completely new musical experiences. [...] The whole work becomes much more colourful and sometimes dramatic, and is always varied, and we have found that the listeners are virtually craving for the next piece because they want to know how it will continue.

The press is enthusiastic:

"In the duo Yaara Tal / Andreas Groethuysen, Febel's "18 Studies for two pianos after Bach's Art of the Fugue" have two congenial interpreters (Sony). The famous pianists succeed in perfectly conveying Febel's radiological precision, subtle sensuality and also his humour". (09.08.2020, RP Online, Wolfram Goertz)

 "The heads of individual notes, which constantly stick out in a concise way, and the rhythmic twists and turns now turn the over-complex primordial structure into a piece of minimal music. Such and other effective surprises such as the violent sparking towards the end of the "Canons alla Decima", apparently triggered by a toy piano, are not for Bach purists. But they didn't have Febel, Tal & Groethuysen in mind either - with this successful update of the "Art of the Fugue"". (29.08.2020, RondoMagazine, Guido Fischer)

"For in it, Febel applies to the joints contemporary means in one and a half hours, which can only be realised on two grand pianos: He places them on top of each other in a phase-shifted manner, lets them both play at different volumes, keys and even keys at the same time, or lets tones from one reverberate in the pedal of the other. Tal & Groethuysen are thus challenged to the limit and shine by maintaining clarity as well as their characteristic soft and round sound".
(29.08.2020, Süddeutsche Zeitung, Michael Stallknecht)

"They also needed this virtuosity for their new CD production, which placed the highest demands on that blind agreement when, to which millisecond exactly, a total chord consisting of two brains, four arms, four hands and twenty fingers falls into the keys. (27.08.2020, The Time, Wolfram Goertz)

"Hay dramatismo, momentos graves, melancólicos, reflexivos, meditativos, gran concentración, toques de humor y algo de descaro; en algunos momentos se lanzan a la velocidad de un moderno tren utrarrápido y en otros retornan a la calma de una letanía, pero siempre con gran hondura. El refinado y placentero experimento resulta ser la forma más elevada de respetuosidad hacia Bach, quien después de todo él mismo no solo quería sorprender a su público con su arte, sino también entretener, algo que de ninguna manera estaba excluído en el Barroco".
(15.09.2020, mundoclasico.com, Juan Carlos Tellechea)

"Small shifts that seem like aftertones or shadow images of played notes characterise all 18 studies in which Febel scrutinises Bach's structures: sometimes only through small changes in rhythm, metre, timbre and degrees of volume, sometimes also through thunderously driving in disruptive chords. Under the layer of the new, no original note is lost, and Tal/Groethuysen give the barely playable with astonishing ease." (21.12.2020, Stuttgarter Zeitung, Susanne Benda)