- Ufuk & Bahar Dördüncü, and Yuja Wang – Istanbul Music Festival review
- AIM Premieres, Flanked By Icons Of Avante-Garde
- Concierto de bravura
- New sounds and soundscapes in Istanbul: Britten and Takemitsu
- If playing the piano would be an Olympic discipline, the sisters Dördüncü would be winning medals with their energetic and flawless performance.
- İstanbul Music Festival’s piano concerts offer poetic respite
- LE DAUPHINE LIBERE The “success” of Classical Music! Or; a fairy tale like concert from Dördüncü Couple
- MANNHEIMER MORGEN Piano Couple
- LE DAUPHINE LIBEREThe Magical Couple
- RHEINSCHE POST “Noble Virtuosity at Most”
- Kultur In Dusselforf a hurricane on the keyboard
- CUMHURIYET Two sisters on the piano
- KARLSRUHE, BADISCHE NEUESTE NACHRICHTEN BADENDDRUCK G.M.B.H.“Two Sisters Become One With The Piano”
- Correio Brasiliense The Turkish Music Culture, that has been going on many ages
- WAZ Vendredi - Culture à EsenTwo sisters playing with ENTHUSIASM
- GENEVA NEWSPAPER Dördüncü Sisters: A perfect Couple
- GUNES Two Rahmaninofs on two pianos
- CUMHURIYET Like one pianist playing with four hands
- TURKISH DAILY NEWSOne of the most important event of the Ankara Festival
- CRUMB, GERVASONI, HAAS: Magical Worlds of Sound
Diverse delights from a Turkish duo, plus glittering Gershwin – review by Peter Quantrill
Long based in Switzerland and France, Ufuk and Bahar Dördüncü have made their name as a duet partnership in new music, working with the likes of George Benjamin and Helmut Lachenmann, but the full range of their musical sympathies was on display in a beautifully programmed recital at this year’s Istanbul Music Festival.
The sisters still count themselves Turkish, and they received an affectionate reception from the audience at the Sureyya Opera House where, the night previously, Cyprien Katsaris and friends had held a four-piano party. While continuing the piano festival within a festival, the Dördüncüs offered an altogether more substantial menu, opening with Shostakovich’s Suite for Two Pianos Op.6. This is a teenage work of prodigal imagination, revealing if nothing else the young Shostakovich’s own extraordinary facility at the keyboard. The performance illuminated where he got his ideas from – how Bach and Chopin and Mussorgsky and even Rachmaninov are all absorbed within a hungry, magpie mind. Assured handling of the two Steinways that had taken quite a pummeling the previous evening meant that the brilliance of Shostakovich’s upper-register writing never became glaring, and opened out his intriguing use of a motto theme in all four movements which would return to poignant effect 60 years later in his last completed work, the Viola Sonata.
the Dördüncüs moved on to home soil, literally and figuratively, with the first performance of Now, a bold and technically challenging work by Zeynep Gedizlioglu. Very evidently written for the talents of the two sisters – the clarity of their articulation and untrammelled force of their attack – the piece explores different states of being in the present, contrasting split-second moments of purpose with pauses for suspense and indecision, leaving us to make connections between them. If that sounds like hard work, Gedizlioglu’s thought process proved both engaging and hardly impossible to follow, with the aid of idiomatic writing for the instruments and serial rows owing something to Webern and Boulez, though her harmonic language is her own, and the piece came to a conclusion both quirky and yet inevitable with the gradual injection of consonant fourths and fifths into its bloodstream.
After the interval, the sisters were joined on stage by the RIAS Chamber Choir of Berlin for the Liebeslieder Waltzes Op.52 by Brahms. While evidently enjoying themselves, as if on a musical holiday, and thus drawing the audience into Brahms’s world of domestic and good-natured music-making, they lavished loving care over every intricately voiced chord; excellent as the choir was, its presence seemed at times almost superfluous.