by Steve Arloff

That the combination of organ and piano is rare is evidenced by the fact that only three of the works on this disc were expressly written for that combination while another was adapted by the composer for it. The rest were transcribed by the organist Raúl Prieto Ramírez. Though there may well be other works written for these two instruments since the Duo perform throughout Spain and internationally, they are certainly unknown to me. However, to answer anyone’s unasked question “is it worth it” this disc emphatically demonstrates that it is. It is in the lap of the composer (or arranger) as to whether it is successful but the disc opener of Langlais’ Dyptique makes an extremely cogent case for such a combination. The feeling of power unleashed is thrilling with the might of the organ dwarfing but not obliterating the piano. The result is awesome in the true sense of the word. The contrast demonstrated by the following two works by Saint-Saëns and Widor is marked. Though they were written for harmonium and piano, the way that Raúl Prieto Ramírez plays the organ shows the ability of that mighty instrument to be gentle, even hushed. The music emerges as delightful and delicate. Lutoslawski’s Variations on a Theme of Paganini was written in 1941 for two pianos and is played here in an arrangement by the organist. There is somewhat of a reversal of roles in it as the piano emerges as the more powerful partner while the organ is more subdued, serving to show the piano’s dominance; that is until the closing bars where the overpowering nature of the organ asserts itself in a “piano-crushing” conclusion. Thrilling stuff!

The name of Canadian composer Denis Bedard was completely new to me. I read in the liner-notes that his Duet Suite was commissioned for an Organ and Piano Duo in Canada so there are other such duos. Bedard’s small suite is charming with some lovely delicate passages from both instruments. Jordi Cervelló is another name I hadn’t come across before and his piece Preludiando was written for the great Spanish pianist Alicia de Larrocha in 2004, later being arranged for string quartet and renamed Á Bach. In 2010 the composer decided to adapt it again, this time for organ and piano, dedicating it to Dúo MusArt. Once again the combination works well as the two instruments really do complement each other. The disc is rounded off by Variations on Two Themes by Dupré, a master of organ composition who was taught by Widor and who in turn taught Langlais and Marie-Claire Alain, among others. This work was written specifically for organ and piano duo and is a truly mighty composition as you would expect from someone of his stature. This work was written in 1937 to mark the death of Glazunov who had previously dedicated his Fantaisie for organ, Op.110 to Dupré. The opening theme – a descending one from the piano, followed immediately by an ascending one from the organ is then treated to twelve variations. As the liner-notes explain these alternate between harmonious dialogue and violent conflict. The climax is “a dazzling and spectacular final fugue” which features “textural variety and an insightful use of the two instruments, both of which are pushed to previously unimaginable limits, make this a touchstone of the piano and organ repertoire”. This disc shows that the most unlikely partnering of instruments can result in some really innovative and exciting music and the excitement is intensified on each hearing. I shall certainly be listening to this disc much more often than I could ever have imagined. I urge you to try it – for organ-lovers especially this is a disc to savour. The Dúo MusArt are a young and dynamic couple whose love for the music is self-evident and whose prowess is demonstrated in every note.