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A&A cembalo duo

“Devilish virtuosity…“
“Just grandiose!“
“Yes, you hardly believe that a harpsichord duo can give rise to such emotions...but two ladies have always found ways to awaken their instrument the imagination of long-lasting and far-reaching sounds“
Donaukurier, German newspaper
“A fulminating finger dance“
“When both harpsichordists took a seat on their instrument, their four hands seemed to belong to only one body“
Ausburger-allgemeine, German newspaper
“In fact, in the music of the two ladies, who mostly played dance arrangements of grand orchestral works, there is a poetry of intoxicating virtuosity beyond expectations“
Steirerkrone, Austrian newspaper

The names Dvořákand Saint-Saëns do not immediately come to mind when talking about harpsichord music. Unconventional approaches as such –mixed with a baroque repertoire –are the trademark of the Russian A&A cembalo duo: Their own transcriptions and interpretations of pieces of music which are not usually associated with the harpsichord create an utterly new perception of the harpsichord. Over the past years, the harpsichord’s reputation changed from old-fashioned to beloved by the audience. The A&A cembalo duocontributes to this new image with its lively and extravagant performances. Whoever believes that the harpsichord’s days of glory are over could not be more wrong –the revival of this instrument has only just begun.   
The A&A cembalo duoconsists of the Russian harpsichordists Anastasia ANTONOVAand Anna KISKACHI. The harpsichordists of A&A cembalo duocompleted their studiesat the renowned P.I.Tchaikovsky Conservatory in Moscow as well as at the University Mozarteumin Salzburg, the University of Performing Arts in Vienna and the University of Performing Arts in Munich. Currently Anastasia teaches harpsichord in Moscow P.I.Tchaikovsky Conservatory, while Anna works as a senior lecturer in harpsichord teaching and accompanimentat the University of Music and Performing Arts Grazin Austria.
Among numerous awardsAnastasia and Anna have received during their musical careers, their most notable achievementsare:winning the firstand thirdprize as well as a special award(for the best performance of a harpsichord concerto in the final round) at the prestigious Prague SpringCompetition, prize-winning at the J.S.BachCompetition in Leipzig or at the Musica Antiqua-Competition in Brugge, winning ofWanda Landowska-Competition in Italy, Golden Award at theSvirel-Competition, winning of  the InternationalYamanashi-andOsaka-Competitions in Japan etc...
The A&A cembalo duohas performed at reputable festivalsin Europeand in Japan, such as the Early Music Fabulous Fringe Festivalin Utrecht, Musica Antiqua Festival in Brugge, Resonanzen-Festivalin Vienner Konzerthaus, Styriartin Graz, Alter Musik Italia Miain Mauerbach, Brunnenthaler Konzertsommer(Austria), Klang im Kloster –Festival für Alte Musik(Deutschland), Yamanashi Early Music Festival(Japan), Accademia del Ricercare(Italy), Breaking stereotypes(Russia) and many others. Anna Kiskachiand Anastasia Antonovaare also guest artists at the Accademia Villa Bossiin Italy. 
As a result of theirperformances in Austria, Germany, Italy, France, Holland, Belgium, Slovenia, the Czech Republic, Poland, Russia and Japan, the A&A cembalo duowas able to steadily increase their name recognition and popularity on Europe’s stages. Their exceptional programs were enthusiastically endorsed by the audience. This witty understanding of their instrument leads to unique performances of the A&A cembalo duo.

A&A cembalo duo presents:
D A N S E  M A C A B R E
The harpsichord –an instrument that enjoyed enormous popularity during the baroque period –can not only sound but also dance. 
The Russian A&A cembalo duo asks their instrument for a dance during their topic related concert program –and invites their audience to join them in their colorful and musical world of madness, love, life and death.
To celebrate the baroque sound and to exploit the diversity of sound their instrument can produce, the A&A cembalo duo does not only include historical pieces but also newly adapted arrangements for the harpsichord in their concert programs. Their selection includes traditionally baroque pieces as well as diverse music from the 19th and 20th century.

"Danse Macabre" by Camille Saint-Saënsin transcription for harpsichord for four hands was both the title of the concertand the great climax of the whole A&A cembalo duo ‘s Dance-program: Dance of Madness, Dance of Love, Dance of Life and Dance of Death. The program was breathed by unusual interpretation, full of beauty, color, brilliance and emotionality.
Augsburger-allgemeine, German newspaper

 

DANCE OF MADNESS
J.-B. Lully (1632 –1687) –J.H. D'Anglebert (1629 –1691). Passacaglia from Opera Armide.
Arr. for two harpsichords 
J.-N.-P. Royer (1705 –1755).  La Marche des Scythes for harpsichord
Vertigo for harpsichord
Tambourin for harpsichord
DANCE OF LOVE
G. Händel (1685 –1759). Lascia chio pianga for harpsichord
L. Boccherini (1743 –1785). Fandango. Arr. for two harpsichords
DANCE OF LIFE
ENGLISH DANCES
H. Purcell (1659 –1695). Chaconne, Allegro, Maestoso from opera KingArthur. 
Arr. for two harpsichords
T. Morley (1557 –1602). Pavan and Galliardfor harpsichord
SLAVONIC DANCES
A. Dvořák (1841 –1904). Slavonic dance Nr. 7, c-Moll, ор. 46, «Skocna»
Humoresque Nr. 7, G-Dur
Slavonic dance Nr. 7, C-Dur, ор. 72, «Kolo»
Arr. for harpsichord four-hands
DANCE OF DEATH
J. Froberger (1616 -1667). Tombeaufait à Parissur la mort de Monsieur Blancrocher for harpsichord
G. Ligeti (1923 –2006). Passacaglia ungherese for harpsichord
C. Saint–Saëns (1835 –1921). Danse Macabre.  Arr. for harpsichord four-hands



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