[{"data":1,"prerenderedAt":412},["ShallowReactive",2],{"\u002Fen\u002Fprograms":3},{"intro":4,"programs":22},{"body":5},{"type":6,"value":7,"toc":18},"minimark",[8,12,15],[9,10,11],"p",{},"Nearly ten years later, it has become a conviction: solo piano, piano four hands and two pianos are not three different formations, but rather three voices within the same artistic project. Each reveals a unique way of listening, engaging in dialogue and telling a musical story.",[9,13,14],{},"This conviction now guides the Alaimo sisters’ entire programming. Each recital explores a territory of its own while weaving connections between different eras, aesthetics and musical worlds.",[9,16,17],{},"They draw as much from the great works of the repertoire as from lesser-known pieces, works by female composers and contemporary creations. Their aim is to offer musical journeys that surprise, open up new perspectives and reveal the full richness of the piano.",{"title":19,"searchDepth":20,"depth":20,"links":21},"",2,[],[23,132,213,296],{"heading":24,"body":26,"key":32,"colors":125,"desc":129,"darkSection":130,"formation":131},[25],"The Odyssey",{"type":6,"value":27,"toc":123},[28],[29,30,33,75,84],"program-content",{":duration":31,"id":32},"60","l-odysee",[34,35,36],"template",{"v-slot:details":19},[9,37,38,39,42,46,48,50,51,53,54,56,59,61,63,64,66,67,69,70,72],{},"F. CHOPIN: Ballade n°4 (12’).\nF. LISZT\u002FJ.S. BACH: ‘Weinen, Klagen, Sorgen, Zagen’ (6’)",[40,41],"br",{},[43,44,45],"em",{},"Chiara",[40,47],{},[40,49],{},"\nM. BALAKIREV\u002FM. GLINKA: The Lark (6’)",[40,52],{},"\nS. PROKOFIEV: Sonata n°1 (8’)",[40,55],{},[43,57,58],{},"Fiona",[40,60],{},[40,62],{},"\nI. STRAVINSKY: Petrouchka (16’)",[40,65],{},"\nG. KURTÁG: Hommage à Stravinsky, from Játékok (2’)",[40,68],{},"\nF. SAY: Night (10’)",[40,71],{},[43,73,74],{},"Fiona & Chiara",[34,76,77],{"v-slot:text":19},[9,78,79,80,83],{},"From Chopin to Say, through Liszt and Stravinsky, ",[81,82,25],"strong",{}," is an invitation to travel, with each work marking a new stop along the way. The journey begins with solo piano before gradually converging into piano four hands, spanning nearly two centuries of music and making the piano the stage for an ever-evolving adventure.",[34,85,86,97,108],{"v-slot:full-text":19},[9,87,88,89,92,93,96],{},"The musical odyssey opens with Frédéric Chopin’s (1810–1849) ",[43,90,91],{},"Fourth Ballade",", a vast narrative canvas in which lyricism, dramatic tension and virtuosity intertwine, building towards a breathtakingly intense conclusion. It finds a natural continuation in ",[43,94,95],{},"Weinen, Klagen, Sorgen, Zagen",", where Franz Liszt (1811–1886) transforms Bach’s cantata into a deeply expressive meditation. Together, these two works form a first chapter centered on inner reflection and spirituality, brought to life by Chiara.",[9,98,99,100,103,104,107],{},"The journey then passes to Fiona’s pianistic perspective. In ",[43,101,102],{},"The Lark",", Mily Balakirev (1837–1910) transforms Glinka’s melody into an airy, poetic song, where virtuosity serves delicacy. Sergei Prokofiev’s (1891–1953) ",[43,105,106],{},"First Sonata"," then takes the listener into a darker, more daring world, where the tensions of modern musical language challenge the certainties inherited from Romanticism. This second part of the journey reveals another facet of the voyage: one of exploration and emancipation.",[9,109,110,111,114,115,118,119,122],{},"The two pianists finally reunite for the last stage of this odyssey. Igor Stravinsky’s (1882–1971) ",[43,112,113],{},"Three Movements from Petrushka"," unfold their full rhythmic energy and orchestral brilliance in a dazzling display of four-hands virtuosity, followed by György Kurtág’s (b. 1926) remarkably concise ",[43,116,117],{},"Hommage à Stravinsky",", which acts as a moment suspended in time. Finally, Fazil Say’s (b. 1970) ",[43,120,121],{},"Night"," opens onto a contemporary soundscape where poetry, improvisation and Eastern influences intertwine.",{"title":19,"searchDepth":20,"depth":20,"links":124},[],{"clr1":126,"clr2":126,"bg1":127,"bg2":128},"#271C19","#D3DCC5","#C8D1BA","A journey between solo piano and piano four hands",false,"Solo piano - Piano four hands",{"heading":133,"body":136,"key":141,"colors":207,"desc":211,"darkSection":130,"formation":212},[134,135],"The Classics","with a twist",{"type":6,"value":137,"toc":205},[138],[29,139,142,162,170],{":duration":140,"id":141},"63","classics",[34,143,144],{"v-slot:details":19},[9,145,146,147,149,150,152,153,155,156,69,158,160],{},"H. KULENTY: Van (6’)",[40,148],{},"\nR. SCHUMANN: Bilder aus Osten (19’)",[40,151],{},"\nD. CHAUVIN: Lourmarin on Fire (3’)",[40,154],{},"\nS. RACHMANINOV: Six Morceaux op. 11 (arr. Fiona & Chiara Alaimo) (25’)",[40,157],{},[40,159],{},[43,161,74],{},[34,163,164],{"v-slot:text":19},[9,165,166,169],{},[81,167,168],{},"The Classics with a Twist"," brings together five works that bridge tradition and modernity. The Romantic intimacy of Schumann and Rachmaninov meets the modern sound worlds of Kulenty, Chauvin and Say. And since classics sometimes deserve to be shaken up, the Alaimo sisters have a special surprise in store — one that will spark your curiosity and bring an unexpected twist to the recital. Stay tuned…",[34,171,172,179,186,192,199],{"v-slot:full-text":19},[9,173,174,175,178],{},"With ",[43,176,177],{},"Van"," by Hanna Kulenty (b. 1961), they open the concert with music in perpetual motion. Resonances spread, textures unfold and time seems suspended. From the very first measures, the audience is invited into a world where familiar reference points fade and listening itself is transformed.",[9,180,181,182,185],{},"Robert Schumann’s (1810–1856) ",[43,183,184],{},"Bilder aus Osten"," offers a change of perspective. The voices respond to one another with infinite delicacy, in a balance that captures the very essence of piano four hands. The sisters like to imagine Robert and Clara Schumann sharing the same keyboard, the same breath, in a musical complicity that echoes their own. Each miniature will be preceded by a poem, guiding the listener and enriching the imagination.",[9,187,188,191],{},[43,189,190],{},"Lourmarin on Fire"," is a work written especially for them by French composer and longtime friend Damien Chauvin (b. 1988). Following a shared residency at the Château de Lourmarin, where they discovered their mutual passion for Stravinsky’s music, he drew inspiration from their personalities to create a piece that is as brilliant as it is irreverent, infused with humour, sarcasm and irony. A true intermezzo, Damien’s wonderfully offbeat universe brings a joyful and unexpected interlude to the programme.",[9,193,194,195,198],{},"They then continue with their own arrangement of Sergei Rachmaninov’s (1873–1943) ",[43,196,197],{},"Six Morceaux, Op. 11",". Without seeking to reinvent the work, they approach each miniature with renewed creativity. Lyrical singing, plucked strings and other unexpected elements offer the audience a more personal perspective on the music of this emblematic composer.",[9,200,201,202,204],{},"With Fazil Say’s (b. 1970) ",[43,203,121],{},", the concert draws to a close with raw energy. Incisive rhythms, echoes of Anatolian traditions and contemporary writing come together in music that is free and deeply alive. A final twist to conclude the journey.",{"title":19,"searchDepth":20,"depth":20,"links":206},[],{"clr1":126,"clr2":208,"bg1":209,"bg2":210},"#4B6F67","#B6C8BD","#A9BBB0","A four hands program... revisited","Piano four hands",{"heading":214,"body":216,"key":220,"colors":289,"desc":293,"darkSection":294,"formation":295},[215],"Roots",{"type":6,"value":217,"toc":287},[218],[29,219,221,242,249],{":duration":31,"id":220},"roots",[34,222,223],{"v-slot:details":19},[9,224,225,226,228,229,231,232,234,235,237,238,240],{},"C. SAINT-SAËNS: Danse Macabre (8’)",[40,227],{},"\nM. TARENGHI: Visione Mistica (8’) - Serenata (5’)",[40,230],{},"\nC. CHAMINADE: Two pieces for two pianos (11’)",[40,233],{},"\nT. YSAŸE: Variations for two pianos (16’)",[40,236],{},"\nM. RAVEL: La Valse (12’)",[40,239],{},[43,241,74],{},[34,243,244],{"v-slot:text":19},[9,245,246,248],{},[81,247,215],{}," traces the threads of their origins. Between France, Belgium and Italy, the works speak to one another, shaping a musical landscape in which their identity gradually emerges.",[34,250,251,258,269,280],{"v-slot:full-text":19},[9,252,253,254,257],{},"The concert opens with Camille Saint-Saëns’ (1835–1921) famous ",[43,255,256],{},"Danse macabre",", in its spectacular version for two pianos. Virtuosity, humour and orchestral brilliance come together to bring the fantastical dance of the skeletons back to life in a musical tableau that is as dazzling as it is theatrical.",[9,259,260,261,264,265,268],{},"Mario Tarenghi’s (1870–1938) two works, ",[43,262,263],{},"Visione Mistica"," and ",[43,266,267],{},"Serenata",", then invite the audience into a different atmosphere. The first unfolds a contemplative and poetic world, imbued with mystery, while the second captivates with its brilliant character. Together, they reveal the subtle writing of an Italian composer whose music is now being rediscovered.",[9,270,271,272,275,276,279],{},"With Cécile Chaminade’s (1857–1944) ",[43,273,274],{},"Deux Pièces pour deux pianos",", the programme returns to the elegance of the French Belle Époque. A major figure of her time, the composer displays remarkable refinement, combining a gift for melody with rich harmonic colours. Théo Ysaÿe’s (1865–1918) ",[43,277,278],{},"Variations pour deux pianos"," then turn the spotlight on the Belgian school. Heir to a prestigious musical tradition and a pupil of César Franck, the composer developed a distinctive language in which thematic invention, harmonic richness and the constant dialogue between the two instruments come together to create a work of great intensity.",[9,281,282,283,286],{},"The journey concludes with Maurice Ravel’s (1875–1937) ",[43,284,285],{},"La Valse",", in its striking transcription for two pianos. At once a tribute to the Viennese waltz and a fascinating vision of its decadence, this masterful score unfolds with exceptional orchestral power, drawing the listener into a swirling soundscape of irresistible intensity.",{"title":19,"searchDepth":20,"depth":20,"links":288},[],{"clr1":290,"clr2":290,"bg1":291,"bg2":292},"#EDEDDB","#192724","#222F2C","A musical celebration of their roots on two pianos",true,"Two pianos",{"heading":297,"body":299,"key":304,"colors":407,"desc":410,"darkSection":130,"formation":411},[298],"4+4 = amour !",{"type":6,"value":300,"toc":405},[301],[29,302,305,352,366],{":duration":303,"id":304},"64","4+4",[34,306,307],{"v-slot:details":19},[9,308,309,310,312,313,315,316,318,319,321,322,324,326,328,329,331,332,334,335,337,338,340,342,345,347,348,351],{},"Karen Vermeiren – soprano",[40,311],{},"\nLotte Verstaen – mezzo-soprano",[40,314],{},"\nDenzil Delaere – tenor",[40,317],{},"\nIvan Thirion – baritone",[40,320],{},"\nChiara & Fiona Alaimo – piano four hands\n",[40,323],{},[40,325],{},[40,327],{},"\nC. SCHUMANN: March in E-flat major for piano four hands (7’)",[40,330],{},"\nR. SCHUMANN: Spanische Liebeslieder, op. 138 for vocal quartet and piano four hands (27’)",[40,333],{},"\nJ. BRAHMS: Hungarian Dance No. 5 for piano four hands (3’)",[40,336],{},"\nJ. BRAHMS: Liebeslieder-Walzer, op. 52 for vocal quartet and piano four hands (22’)\n",[40,339],{},[40,341],{},[43,343,344],{},"Bis",[40,346],{},"\nL.V. BEETHOVEN: Mir ist so wunderbar, excerpt from the opera ",[43,349,350],{},"Fidelio",", for vocal quartet and piano four hands (5’)",[34,353,354],{"v-slot:text":19},[9,355,356,357,360,361,363,365],{},"Four voices, four hands, and every shade of love. From tenderness to passion, from playfulness to melancholy, this programme brings together Clara Schumann, Robert Schumann and Johannes Brahms in a vibrant dialogue between voice and piano four hands. A concert that is at once virtuosic, intimate and sparkling, culminating in Beethoven’s ",[43,358,359],{},"Mir ist so wunderbar",".",[40,362],{},[40,364],{},"Four of Belgium’s most acclaimed singers — Karen Vermeiren, Lotte Verstaen, Denzil Delaere and Ivan Thirion — who have performed on the stages of La Monnaie, Opera Ballet Vlaanderen, the Opéra Royal de Wallonie and beyond, share the stage with virtuoso pianists Fiona & Chiara Alaimo.",[34,367,368,371,378,389,398],{"v-slot:full-text":19},[9,369,370],{},"At the heart of the program is the music of Clara Schumann, Robert Schumann and Johannes Brahms, three figures whose lives were closely intertwined through music, friendship, admiration and feelings whose echoes would resonate throughout their lives. But more than a love story, it is their artistic complicity that forms the thread running through the concert.",[9,372,373,374,377],{},"The journey opens with Clara Schumann’s ",[43,375,376],{},"March in E-flat major",", placing the composer and her writing for piano four hands in the spotlight. This is followed by Robert Schumann’s Spanische Liebeslieder, in which four voices respond to one another, revealing the many faces of love, from light-heartedness and desire to passion.",[9,379,380,381,384,385,388],{},"A ",[43,382,383],{},"Hungarian Dance"," by Brahms provides a virtuosic instrumental interlude before giving way to the ",[43,386,387],{},"Liebeslieder-Walzer",", the true heart of the program. Here, the four voices converse, intertwine and complement one another, carried by the intimacy of piano four hands. Tenderness, playfulness, nostalgia and passion follow one another with irresistible freedom and sensuality.",[9,390,391,392,394,395,397],{},"Finally, the programme closes with Beethoven’s ",[43,393,359],{},", from ",[43,396,350],{},". The four characters express their feelings simultaneously, each unaware of what the others are experiencing. The result is a delightful musical misunderstanding in which four voices reveal four different visions of love.",[9,399,400,401,404],{},"From Clara Schumann to Beethoven, ",[81,402,403],{},"4 + 4 = Love!"," brings six performers together in a program that is both accessible and musically demanding, where the richness of the vocal colours, the intimacy of piano four hands and the diversity of emotions come together in a true celebration of music and voices.",{"title":19,"searchDepth":20,"depth":20,"links":406},[],{"clr1":126,"clr2":126,"bg1":408,"bg2":409},"#779B93","#6C9088","Where piano four hands meets a vocal quartet","Piano four hands and vocal quartet",1792398794586]