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Ufuk and Bahar, sitting opposite, are creating unique tunes with their magical instruments

We can not distinguish who is Bahar and who is Ufuk, in fact this does even not have a tiny importance.

They have an unbelievable physical presence, apart from their abilities and virtuosity. One of them is smiling, looks relaxed and it is sure that she plays for pleasure. On the other hand, the other one has a very nervous expression and plays like torturing her keyboard, but the keyboard is not complaining. It looks like the sound is getting even perfect as the pain increases.

The tall and thin pianist who is in continuous effort, dedicated herself to her work with an attractive enthusiasm and seriousness. The gray, thin silhouette making continuous movements on the keyboard deeply attracts everybody.

One virtuose for three composers.

Lets describe the multidimensional abilities of Dördüncü Sisters without being drawn in to the program of their performance.

Ufuk and Bahar was able to express the duality in “L’etude pour deux pianos”, by Swiss composer Frank Martin, who was attracted by German and French cultures at the same time, with a fastidious virtuosity. Then comes Ravel. Ravel, who was both Swiss and Bask, was mentioned as a “Reformist” in his own era, due to his musical understanding that was very addicted to innovations. His listeners could not understand the poetic and funny aspects of his music. “La Valse” that was performed by two pianists, is a real choreographic poet, that was completed by Ravel in twenty years.

Ufuk and Bahar could perform the piece that is qualified as a “classic” today, without loosing any feeling from his enthusiastic and attractive expression, the purity of his dreams and perfectionism.

They reach to the peak point of their art through Stravinsky.

These two young Turks, who are going to perform in Warsaw and New York in the future, resemble their teachers in terms of their moods. They have both the fire of Diaghilev’s (fire bird) friend and also the ability to bring “Le Sacre du Printemps” to its magnificity. Stravinsky became friends with Swiss poet Ramuz after his retirement, and thus his inspiration sources were westernized. He became first French and then American; “neither harmonic variety nor the connected rhythms in his music were Russian anymore” (Schoelzer). What left behind was his wildness and being primitive.

They perform from these composers, who were stuck in between their personalities and opposing factors, and could transpose their complementary aspects which were in between their ancestors and cultures with or without any desire.

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