Johannes Brahms (1833-1897) – Variations on a theme by Paganini op. 35 (arr. for two pianos by R. Silvestri)
Witold Lutoslawski (1913-1994) – Paganini Variations for two pianos
Anton Arensky (1861-1906) – Suite no. 1, op. 15 for two pianos
Anton Arensky (1861-1906) – Suite no. 2, op. 23 ‘Silhouettes’ for two pianos
Aaron Copland (1900-1990) – El Salón México (arr. for two pianos by L. Bernstein)

Luis Magalhães and Nina Schumann (pianos)

REVIEWS
Technical mastery is blunt when used for self-aggrandizement, especially when one deals with that master of virtuosity Nicolo Paganini. Of this Nina Schumann and Luis Magalhaes were acutely aware, avoiding the temptation to showcase this aspect in their approach to the orchestral sound potential of the “Variations on a theme by Paganini” which Johannes Brahms composed in 1862/3 for the pianist Carl Tausig. Their powerful rendition of the arrangement for two pianos by Constantin Silvestri has perfect clarity of voices. Above all Nina Schumann and Luis Magalhaes have carefully considered the temperament of each variation, so that, for example, Deciso (Book I, XIV) was truly opened up, and the Scherzando (Book 2, III) became a pregnant anecdote. In 1941 Witold Lutoslawski in his “Paganini Variations” rendered the same theme in a rustic way with balanced, dissonant timbres and risky motorics. During 1932 the extant folkloristic colouring appealed to U S American composer Aaron Copland when he visited “El Salon Mexico”. Nina Schumann and Luis Magalhaes experienced it as a nervously vibrating place whose tensions were eagerly and successfully dissolved melodically. A similar though milder concept is contained in the Suite No 1 of Anton Arensky. A troubadour “romance” is paraphrazed ironically, a waltz impudently, and a polonaise mockingly, whereby the technical proficiency of this duo singularly produces a profound expressive power.
PianoNews Dec 2010
H-D Grunefeldt

“This is the second release from TwoPianists to come my way, and it is as exceptional as the first. Two releases may not be quite enough to officially declare a major new duo talent, but from everything Luis Magalhães and Nina Schumann (husband and wife) have recorded, they are. Their precise ensemble is complemented by interpretational decisions that make anything they do come alive and remain continually interesting. The repertoire in the current program shows a curiosity to explore new and rare works, which is clearly backed by their excellent judgement to select only those items worthy of their (and our) time.
Brahms’s name on the cover of any two-piano recording makes me immediately expect the Haydn Variations or the Hungarian Dances, or possibly the Piano Quintet as arranged by Brahms. I was surprised to find a two-piano arrangement of his Paganini Variations done by Romanian conductor Constantin Silvestri. The well-known bristling difficulties in these variations are skillfully tossed back and forth between the pianists, often doubled an octave higher or lower. Accompaniment patterns are expanded and fleshed out, making for the kind of orchestral textures that can be found in the Haydn Variations. The duo’s clarity and precision make you think it is only one pianist, but the additional sonority and extra notes make for a tour de force.
Then there is an edge-of-your-seat performance of Lutosławski’s brilliant setting of Paganini’s original Caprice with 11 variations and a coda. It should be noted here that Liszt simply translated the original to the piano. He added harmony and pianistic figurations, but kept to the exact format of the original. Lutosławski adds two-piano figurations in a much more contemporary harmonic language. Brahms (and later Rachmaninoff) took the original theme and wrote completely new sets of variations on it.
People familiar with Rachmaninoff’s great two-piano works should enjoy the two Arensky suites. He was Rachmaninoff’s teacher, so it is hardly a surprise that his two 15-minute suites would share a common musical language with the Rachmaninoff works. These are a real find, and given the performances here, might just creep into recital programs more often, especially as a warmup to one of the Rachmaninoff Suites.
The program ends with Bernstein’s superb two-piano arrangement of El Salon Mexico.
The two huge Bösendorfer 280 concert grand pianos are captured in top-notch sonics, and the booklet notes by Barry Ross complete the package for a must-have release.
American Record Guide – January 2011

“Recordings by artists on their own labels usually give a buyer pause, being akin to self-published books. In this case, however, there is nothing to be worried about; there is nothing about this recording that isn’t recommendable. The choice of composers in the program is a little odd, but the piano duo of Nina Schumann and Luis Magalhães, theTwoPianists of the label’s name, make it work in what is a technically superb and musically fantastic performance. The virtuosic skills of both Schumann and Magalhães is impressive, but the ability to completely energize the music and draw the listener in completely, in such a diverse selection of pieces, is all the more exciting. The arrangement for two pianos byConstantin Silvestri of the Brahms Paganini Variations does at times double up the lines, making for a thicker sound than Brahms’ original, but the duo’s excellent ensemble playing means that in this case, the sound isn’t much denser than it would be on a single piano. They listen to each other, paying attention to every aspect of playing with another person or persons: timing, texture, phrasing, coloring, etc. It’s that skillfulness that makes their readings of the two Arensky suites a delight to hear. Arensky’s very pianistic writing has idiosyncrasies that can trip up the most talented of pianists, and the ability to handle those smoothly and to bring out all of the character in the music in a way that immediately engages the audience is rare, and is probably why his duo piano music isn’t more widely known, even among pianists. The much more well-known works by Lutoslawski and Copland(arranged by Leonard Bernstein from the orchestral work) are just as easily and colorfully performed by the duo. The recording’s sound is also excellent, capturing both pianos fully and clearly, although the engineering is slightly on the quiet side, so your speakers may need to be turned up more than usual. Nina Schumann and Luis Magalhães together give this music an appeal that should reach beyond just fans of two piano literature.”
AllMusic.com – Patsy Morita, 20 Sep 2010

“The twopianists performance equals (and this is saying something) the famous version with Martha Argerich and Nelson Freire Rachmaninov: Suite No. 2, Op. 17; Ravel: La Valse; Lutoslawski: Paganini Variations. A classic performance.”
Amazon.com – Scott Morrison, 19 Aug 2010

“Thrilling and flamboyant, tender and passionate, vibrant and dynamic, Magalhães and Schumann excel in the raptly uplifting and colourful writing of El Salón México. I am puzzled why I have not come across the excellent duo of Magalhães and Schumann previously. What an outstanding partnership they make and just where have they been hiding? I was especially impressed by their unison and the magnificent range of keyboard colour achieved is remarkable. Playing their stunning Bösendorfer model 280 concert grand pianos the assured duo provide interpretations that could scarcely be bettered. There is much excellent music to enjoy here. In fact I loved this disc from start to finish.”
Michael Cookson, MusicWeb International, 20 Aug 2009

“The central Valse of No. 1 with its delicate hesitations and stately confidence is memorable. The Polonaise finale of No. 1 is part romp part grand strut. The Second Suite is in four movements. The first is the melodramatic Le Savant, suggestive of the supernatural and mediums. La Coquette is suitably well coquettish with a glint in the eye and an inveigling smile. Polichinelle is played to the shuddering hilt. Splendid stuff. You can really feel the excitement in the playing. Overall then this is one of the finest piano duo discs with some really exciting playing amid an intrepid choice of repertoire.”
Rob Barnett, MusicWeb International, 20 Aug 2009

“Schumann and Magalhães are magnificent. The numerous virtuoso passages – executed here in astounding unity – are presented with an abundantly flamboyant approach, and fortissimi and pianissimi follow one another as if constituting a natural gesture. The essential thing is that the two pianists are in complete control of the enormous structure. That is why their give and take, the continually pulsating tension points in the work, is so impeccable. This is profound music-making – although music for two pianos so often gives the impression of showing off – and this happens precisely because their technical skills do not in the least affect their purposeful ‘attack’. It is all very exciting, but in between the surges, amazing chord passages and lightning-like leaps and bounds, there lies inherent musicality and loads of musical expressiveness. This is a product of the highest quality, comparable to top-quality products on the international circuit and CD market. It is a recording which, like those of Cliburn and Arrau decades ago, will afford hours of listening and repeated listening pleasure.”
Thys Odendaal, Beeld, 12 Aug 2009

“The repertoire chosen for their second CD release is a masterpiece, listening to the CD is much like attending a very entertaining and exciting concert. The Lutoslawski Paganini variations for two pianos has a marvellous jagged feel which is not easy to play. This is truly creative stuff, the variations are rhythmically and harmonically charged with almost an angry energy, Schumann & Magalhães show remarkable restraint in not going over the top. Copland’s El Salón México arranged for two pianos by Leonard Bernstein is a tour de force, a must listen for rhythmic virtuosity.”
Mike Ford, ClassicFM, 4 Sept 2009