For her second album with Cypres, Laurence Mekhitarian has devised a programme combining the music of Robert Schumann with that of Gyorgy Kurtag, as it seemed obvious to her that their worlds share a profound emotional kinship. Certain works by Kurtag, such as the Trio Hommage a R. Sch. And Quasi una fantasia, bear direct witness to this. Alongside Schumann's Waldszenen, Laurence Mekhitarian has chosen to include three excerpts from Leos Janacek's cycle Sur un sentier recouvert and to play each of these pieces alternately with miniatures by Kurtag from his ten collections of Jatekok. The pianist has followed a free path here, guided by echoes, resonances, contrasts and sonic affinities. Kurtag has been part of her musical life for nearly forty years, both as a performer and a teacher. His high standards, his depth and his humanity have had a profound impact on her. In her view, he embodies a rare and essential way of being in the world through art. This programme has been constructed with curiosity and wonder, allowing the works to dialogue with each other. Kurtag's pieces - Fleurs, Objet trouve, Jeu avec l'infini - open up a sound space beyond the keyboard. They lead us to the Waldszenen, like a door to a world waiting to be explored. Each of Kurtag's miniatures is a tribute, a memory, a message. The journey ends with a transcription of a Largo by Johann Sebastian Bach, followed by a piece by Artur Avanesov (Modulatio, as a hidden track...).

SOMM Recordings is thrilled to collaborate once again with the Tessa Uys and Ben Schoeman piano duo following their highly praised six-volume recording of the nine symphonies by Beethoven arranged for piano duet by Xaver Scharwenka-about which International Piano says, "These readings afford unmitigated pleasure... The articulation and voicing of the players persuades us into thinking we're in the middle of an unleashed virtuoso orchestra." Now, these award-winning South African-born artists present music for two pianos and piano duet from their adopted country, highlighting works by Gustav Holst and Edward Elgar. In the early 1910s, Holst became interested in astrology, and he conceived the idea of a suite for orchestra based on the solar system's individual planets. Originally, he composed�The Planets on the piano, using the instrument in his newly-built, sound-proofed room in the music wing at St Paul's Girls School as well as the piano at his home in Thaxted. This version for four hands, two pianos was scored by two of his colleagues at St Paul's, Vally Lasker and Nora Day, who acted as amanuenses, because Holst suffered intermittently from painful neuritis in his right hand. Following the resounding success of the orchestrated version of The Planets, the original piano duet score was overlooked, though it was eventually published separately in 1949-51. In 1979, Holst's daughter, Imogen, reissued the complete two-piano arrangement in one volume, and Tessa Uys and Ben Schoeman perform this version here. Elgar's renown was such that, at the height of his fame, several established musicians were commissioned by publishers to make piano transcriptions of his orchestral music. This was no mean feat, given that Elgar's scores are scrupulously marked as to how he wanted every phrase-sometimes even every bar or note within that phrase-to be played. It was the composer, arranger, and conductor, Otto Singer II, who made the transcription for piano four-hands of Elgar's 1905 Introduction and Allegro, scored originally for solo string quartet and string orchestra. Singer's insight and skill are evident in techniques like transferring string double-stopping to spread keyboard chords, and his piano four-hands version is admirably true to Elgar's evolving contrapuntal and harmonic ideas. In Victorian England, the marriage of a tradesman's son to the daughter of a Major-General in the British Army, who was eight years his senior, might not have appeared a perfect match. Yet, the marriage of Edward Elgar and Caroline Alice Roberts turned out to be a love-match. In 1888, as a wedding present, Edward presented to Carice, as he called her, Salut d'Amour. This enduring melody has inspired numerous arrangements for widely varying instrumental combinations, including this one for piano duet.

For her first project at Cypres, young Belgian pianist Cassandre Marfin thinks big and has come up with Jusqu'a la nuit, a triptych devoted to chromesthesia, one of the many forms of synesthesia known to date. Synesthesia refers to the general alliance of two senses within the brain of an individual. Chromesthesia, on the other hand, refers specifically to the association between colours and sounds. Each volume of this trilogy is dedicated to a primary colour: blue, yellow and red. This first volume focuses on blue, which is undoubtedly the colour most present in music and the one most appreciated in the Western world. According to Cassandre Marfin, it evokes the world of night and dreams, something intangible and indefinite. It is a source of multiple representations in our imaginations. Through a skilfully conceived programme, the pianist associates this colour with ideas, metaphors and compositional systems that allow us to form our own personal impression of blue.

Oscar Lorenzo Fernandez belonged to a key group of Brazilian composers including Villa-Lobos, Mignone and Guarneri, who radically transformed the landscape of Brazilian classical music and shaped future generations of composers. Lorenzo Fernandez was essentially a miniaturist, with many of his piano pieces being both richly inventive and short in duration. From the Iberian sonorities of earlier pieces such as the expansive Noturno, via the nationalist flavours of the Suites Brasileiras, to his final piano work, the technically challenging Sonata Breve, Lorenzo Fernandez's refined sophistication and originality can be heard in every piece.

SOMM Recordings celebrates the wealth of popular concert music produced in Vienna in the 19th and early 20th centuries with a release called Dancing in Vienna, an exhilarating collection of waltzes to set your feet tapping. The Philharmonic Concert Orchestra is led by the versatile Scottish conductor, Iain Sutherland, whose previous, wide-ranging collaborations with SOMM have received enthusiastic critical response: "strong and trenchant, often exhilarating, never sentimental, " Gramophone; "getting pretty much everything right, every nuance and subtle rhythm, " Amazon USA. Einzi Stolz, widow of one of the last masters of Viennese light music, Robert Stolz, wrote to Sutherland, "You have a Viennese heart with the golden arm for Viennese music." Robert Stolz's rousing march, Greetings from Vienna, opens this collection, which also includes his Viennese Cafe Waltzes. Dominating the light music programmes of Vienna for almost a century was the Strauss family-Johann I and his three sons Johann II, Josef, and Eduard. They composed dances and conducted their own orchestras for all the grand balls and concerts almost every day of the week in Vienna, as well as all over the world. Among the works by Johann Strauss II included here is his famous Emperor Waltz, commissioned in 1889 for a state visit by Emperor Franz-Joseph I of Austria-Hungary to Kaiser Wilhelm II of Germany. Reflecting the rise of popular Hungarian gypsy music at the time is his Salute the Magyars polka, along with the Trisch Trasch, Thunder and Lightning, and Champagne polkas, and the overture to his operetta masterpiece, Die Fledermaus. Johann II was the most famous of the family of musicians, though he once said of his younger brother, Josef Strauss, that he was "the more gifted of us two; I am merely the more popular..." From Josef Strauss we have the Chatterbox Polka, Dragonfly Polka-Mazurka, Jockey Polka (incorporating the international trumpet call marking the opening of the racing season), the Feuerfest! Polka to celebrate the Wertheim company's 200, 000th fireproof safe, and the beloved Pizzicato Polka, on which he collaborated with popular brother. The youngest of the Strauss brothers, Eduard Strauss, was better recognized as a dance music conductor than as a composer. Still, this release includes his Clear Track Polka, heralding the opening of a new railway company in 1869. Johannes Brahms greatly admired the melodic genius of Johann Strauss II. Their respect was mutual, and Strauss often included his good friend's Hungarian Dances on his programmes. This present collection includes Nos. 1, 5, and 6 from Brahms's collection of 21 dances. The lesser-known composer, author, and musical administrator Richard Heuberger is represented on this CD of Dancing in Vienna by the overture to his light opera, The Opera Ball.

Acclaimed flautist Lisa Friend writes: It has long been a dream of mine to record an album featuring the works of some of my favourite American composers. Having grown up in New York, I have cherished memories of watching, as a young child, my father, Rodney Friend (concertmaster), perform with the New York Philharmonic under the baton of his close friend Leonard Bernstein. I recall being in rehearsals, where my father and Bernstein would often discuss the scores during breaks - a time I wish I could relive. This album brings together a selection of American works and original arrangements that hold a special place in my heart. Dad always played Heifetz's version of Jeanie with the Light Brown Hair, hence my wanting to record it here. Bernstein's West Side Story, and especially the theme 'Somewhere', has been one of my all-time favourites. I have recorded Ashokan Farewell for my brother Steven, knowing how much he loves this beautiful melody. I dedicate the lovely Poem by Griffes to my wonderful teacher and mentor, Renee Siebert, former flautist of the New York Philharmonic.

SOMM Recordings' fruitful collaboration with Leon Bosch, renowned double bass player and director of I Musicanti, has recently produced a group of world premiere recordings, which consist of four delightful and interestingly disparate British Piano Quintets. The two quintets by Percy Godfrey (1899-1945) and Richard Walthew (1872-1951) fall within a post-Romantic idiom reminiscent of Rachmaninoff's music, while those of John McCabe�(1939-2015) and Ivor Hodgson (b.1959) share terrific rhythmic vitality and modern harmonies whilst remaining entirely accessible. Although the music of Percy Godfrey is little known these days, he received two notable awards around the turn of the last century. In 1902, he won a competition for a Coronation March for King Edward VII and, in 1899, he was awarded the prize for a newly-announced chamber music competition. That winning piece was his Piano Quintet in E flat major heard on this release. The quintet by Richard Walthew is titled Phantasy Quintet. Walthew was an important figure in English�chamber music�during the first half of the 20th century, having a natural affinity for the genre. His single movement Phantasy Quintet is his most successful chamber work, and it recreates the spirit of the Elizabethan consort through a varied statement-counterstatement-restatement format. John McCabe produced works in virtually every genre, including music for television. His theme tune for the 1973 family drama series, Sam, became a huge hit and was the inspiration for his 1989 chamber work, Sam Variations. As McCabe noted, "The theme itself is never heard direct - the nearest we get to it is in the rather enigmatic coda... But all of the material is taken from the theme and transformed in a variation-like way... " Among the varied works by the prolific composer and double bass player, Ivor Hodgson, is a set of nine concerti-including one he wrote for the pianist, Peter Donohoe, who is featured on this release. Hodgson's first Piano Quintet, featured here, was inspired by four Derbyshire inns, as indicated by the names of the four movements: The Quiet Woman, Earl Sterndale, Buxton; The Waltzing Weasel, Hayfield; Moonlight over Mount Famine, The Lamb Inn, Chinley Head; and The Oddfellows, Whitehough, Chinley. The mixed instrument chamber ensemble I Musicanti-hand-picked by the group's artistic director, international double bass virtuoso Leon Bosch-comprises some of the most experienced and respected musicians in the UK. Their previous collaborations with SOMM include Giovanni Bottesini: String Quintets, SOMMCD 0645 ("vivacious, colourful, flowing and finely nuanced accounts" -BBC Music Magazine) and Nimrod Borenstein: Piano Concerto, Shirim, Light and Darkness, SOMMCD 281 ("dramatic and energetic accents from the orchestra" -Pizzicato.) This recording features pianist, Peter Donohoe; violinist, Zsolt-Tihamer Visontay; violist, Robert�Smissen; cellist, Ursula Smith; and double bassist, Leon Bosch.

SOMM Recordings is excited to explore the fascinating and largely unknown repertoire of Ibero-American art songs. A shared passion for showcasing hidden jewels of Latin American song inspired the collaboration of Colombian soprano Julieth Lozano Rolong and Portuguese pianist Joao Araujo, who began their partnership while studying at the Royal College of Music. Julieth received the 2018 RCM President's Award presented by RCM President, HM King Charles III. She won the Dame Kiri Te Kanawa Audience Prize in the 2023 Cardiff Singer of the World competition and was recently named one of Opera Wire's Top Ten Rising Stars. Joao was awarded best collaborative pianist prizes at the Concours Musical International de Montreal in Canada and the Maureen Lehane Vocal Awards at Wigmore Hall, and he has been nominated for the Gerald Moore Award. Their recital includes songs in Spanish and Portuguese from seven countries. Reflecting Argentina is "Dance of Two Brothers" by the Impressionistic composer Carlos Guastavino, and "Cancion de cuna India," a haunting lullaby by Gilardo Gilardi, inspired by Argentina's indigenous music. Maria Grever was the first Mexican female composer to gain international success. Her innate melodic gifts are evident in "My Soul" and "You Said 'I Love You'." "Uirapuru," by Brazilian composer Waldemar Henrique, describes the song of the so-named musician wren, while the evocative "Bluebird" by compatriot, Jayme Ovalle, was embraced by sopranos like Victoria de Los Angeles and Montserrat Caballe, and baritone Gerard Souzay. Ernani Braga's gift for transforming Afro-Brazilian musical elements is underscored in a song reflecting Brazilian folk religion and a sugar-mill workers' song. The simple originality of Spanish composer, Maria de Pablos Cerezo, who tragically spent her final decades in a mental institution, is heard here in "The Water Wheel." Ernesto Halffter's much-admired arrangement of a popular fado, "Oh, What a Beautiful Girl" is followed by two selections arranged by the Spanish poet and playwright, Federico Garcia Lorca: "The Moorish girls from Jaen" and "Sevillian Lullaby." Barcelona native Fernando Obradors conjures the Andalusian dance, "El vito," and from zarzuela composer, Joaquin "Quinito" Valverde Sanjuan, we have his sublime "Carnations." "Lullaby to Put Albertico to Bed" and "Rojo," a description of sunset, reflect the folkloric research by Venezuelan musicologist-composer, Modesta Bor. Colombia is represented by the haunting lullaby, "Promises So You Can Sleep" from Luis Carlos Figueroa Sierra; a loving picture of a country girl, "La campesina," by Jaime Leon Ferro; and "Four Questions" from a heartbroken lover by Pedro Morales Pino. The recital ends with two songs from Portugal. "The Willows" by Luis Costa is one of the gems of Portuguese art song. Finally, from Antonio Fragoso, a victim of the 1918 influenza epidemic, we have "Cradling the Little Boy."

Julius Benedict studied with Hummel and Weber, beginning as a virtuoso pianist and then becoming a conductor and operatic composer. In 1835 he moved to England where he spent the next 50 years as a much-admired composer, teacher and writer. His most famous work is the opera The Lily of Killarney but the music for his own instrument displays a precocious talent. This is most evident in the Piano Sonata No. 1 in E major, where novelty and beguiling modulations co-exist with the influence of his teachers. The smaller pieces exhibit his taste, finesse and maturity, while the Andante and Rondo Brillante is a glittering showpiece.

Wilhelm Taubert was a significant composer and teacher in Berlin during a period when the city began to rival Vienna and Paris as a European musical powerhouse. Though it was also a time when the piano had reached it's zenith in size and tonal depth, Taubert's graceful, conservative style was perfectly suited to the instrument. His sonatas fuse Beethovenian elements with those of Weber, and feature slow movements that draw on rich operatic lyricism reminiscent of Rossini or Cherubini.

Jozef Wieniawski, younger brother of Henryk, was a prolific Polish composer and virtuoso pianist renowned throughout Europe. After studies in Paris he spent two years in Weimar studying with and absorbing the compositional style of Franz Liszt - Wieniawski's work combines the pianistic flair and poetic intensity of both Liszt and his fellow countryman Chopin. These qualities can all be heard in the virtuoso Polonaises and the tragic Ballade as well as the Piano Sonata in B minor - the pinnacle of Jozef Wieniawski's many contributions to the piano repertoire. Andrew Cannestra's recording of Polonaise No. 1 is available for streaming and download on a digital single (9.70388).

Of the few pupils of Clara Schumann to make recordings, Fanny Davies (1861 - 1934) was by far the most important. She studied for two years with the great pianist and very much saw herself as a disciple. She went on to have a significant career and was praised for her noble and unsentimental approach to the music of Robert Schumann in interpretations that were said to resemble Clara's very closely. The three recorded works she left us are thus some of the most important documents of 19th-century pianism we have, and we are delighted to return them to the catalogue in new transfers. Adela Verne (1877-1952) is less well-known today, perhaps because she left only two recordings, made in 1917, but in her day, she was a major figure, starting life as a prodigy and giving the first performance of Brahms' 2nd Concerto at the Proms in 1905. Her principal teacher was her elder sister Mathilde Verne, another Clara Schumann pupil. This is the first time her discs have been reissued.

On 9 January 2026, conductor Shea Lolin presents Frisson, an exciting new album of music for woodwind orchestra and his third recording with the principal woodwind players of the Czech Philharmonic (Gramophone's Orchestra of the Year 2024). Frisson follows the release of the ground-breaking Twisted Skyscape, the first album devoted entirely to new music for woodwind orchestra, and Chromosphere, which focused on contemporary repertoire. Frisson marks Shea Lolin's 20-year involvement with the woodwind orchestra and celebrates it's evolution from the early eighteenth-century genre of Harmoniemusik - formal ensemble music for pairs of winds - to it's modern form. The album features a superb programme of arrangements for woodwind orchestra by Shea Lolin, all originally commissioned by the Bloomsbury Woodwind Ensemble. He expands Franz Krommer's exquisite Octet - Partita in F Major, Op. 57, and Richard Strauss's youthful Serenade, Op. 7, creating a broader sonic landscape while maintaining their essence. Also included is C�cile Chaminade's beloved Concertino, Op. 107, arranged for woodwind orchestra and featuring young Glaswegian flautist Fiona Sweeney, who makes her debut with the Czech Philharmonic on this release. Completing the album is More Gordian Knots by Guy Woolfenden OBE, a spirited reimagining of Purcell's music for The Gordian Knot Unty'd, written during Woolfenden's remarkable 40-year association with the Royal Shakespeare Company.

Composers' conclave in Leipzig - chamber music by Edvard Grieg, Ethel Smyth and Amanda Maier "An expression of the deep friendship by Maier, Grieg and Smyth may be felt in the linking momentum of their composing: although each of these creative figures embodied their own personal style, each of them draws from the living waters of their country's folk music, which throbs through their works as it's primal impulse."

Divine Art is delighted to announce a superb collection of sensuous classical Spanish language songs for voice and piano, from the sublime musical partnership of lyric soprano Esther Rayo and renowned pianist and conductor Peter Grunberg. This program of works was first heard in a series of concerts given by the San Francisco based teaching and performance organization LIEDER ALIVE! The album features songs by early 20th century Spanish language composers: Fernando Obradors, Manuel de Falla, Enrique Granados, Alberto Ginastera, Xavier Montsalvatge, Consuelo Velazquez and Manuel Ponce. Drawing from Spanish classical poetry and regional folk melodies, these vibrant song cycles offer appeal to art song aficionados and first-time listeners alike. Born in California, and surrounded by Spanish music and language, this music is close to Esther Rayo's heart. Her connection with these songs started when she was introduced to the music of Manuel Obradors while in college. Obradors offered the perfect starting point for her continued study and discovery of Spanish art song, and she was guided by the great 20th century sopranos Montserrat Caballe and Victoria de los Angeles, who kept this music alive. While she was at graduate school in 2017, Esther was introduced to Peter Grunberg by Maxine Bernstein, Founder and Director of LIEDER ALIVE! And they made an immediate musical connection around the works of Spanish language composers. LIEDER ALIVE! #helped provide opportunities for Peter and Esther to perform this music together, alongside it's standard mission of promoting German Lieder. Over the years they continued to study and learn more classical Spanish repertoire, resulting in this, their debut album together. And, even after all these years, they still feel they've only just scraped the surface of this wonderful repertoire!

Around the same time that Michael Korstick caused a sensation with the first and, to date, only recording of all Beethoven piano concertos (555 447-2), these recordings were also made. They shed light on the life of the "Titan" from the opposing perspectives of fashionable accessories and clever miniatures. These two aspects interweave in reverse chronological order: the Variations in C Minor from 1806 serve as the prelude, while the 24 variations on Righini's�Venni Amore�from 1791 conclude the portrait. In between, musical snapshots of the Bagatelles Op. 33 (1802) and Op. 119 (1822) frame the variations on an original theme, Op. 76 (1809), which would later become the�Turkish March.�In every piece, from the smallest vignette to the most intricate keyboard trick, the boundless imagination of one who set out to instill fear is at work.

The album opens with Liszt's transcriptions of two passionate and romantic works: Schumann's Widmung from the song cycle Myrthen and Isoldes Liebestod from Wagner's Tristan und Isolde, followed by the charming and magical Spinnerlied from Wagner's Der Fliegende Holl�nder. Several transcriptions of Schubert's lied are featured here: the sombre Der Doppelg�nger from Schwanengesang and Der M�ller und der Bach (the inspiration for the album) from Die Sch�ne M�llerin; the soothing Fr�hlingsglaube and the delightful and imaginative St�ndchen von Shakespeare (Horch, hoch! Die Lerch!); finally, a piece (No. 6) from Liszt's own Soir�es de Vienne cycle - arrangements of Schubert's tremendous 12 Valses Nobles, D. 969. The album has a "coda": the Valse from Gounod's opera Faust, the subject of several works by Liszt. This famous virtuoso piano transcription is full of drama and excitement, with "diabolic" sections but also gentle and lyrical, at times even transcendent. Indre Petrauskaite says, "It is delightful to take the example from Liszt himself and continue to 'practise' the love for the original music while 'revisiting' these famous transcriptions.'

Advena: liturgies for a broken world, featuring world premieres of choral music from composer Mark Buller performed by GRAMMY� Award-winning choir Conspirare and Artistic Director Craig Hella Johnson. Releasing digitally on August 29, 2025 and on CD on September 5, 2025 on Divine Art Records. Born of personal reckonings with inherited faith and culture, Mass in Exile and Requiem for the Light are liturgies in forms reimagined through the lens of our present moment. Composed by Mark Buller with librettist Leah Lax, these works reimagine ancient forms through the lens of our present moment. Buller's vibrant musical language combines with mystical choral textures to create an emotional intensity that feels both intimate and urgent. These works are presented between two companion works - Introit: Fruit of Your Heart and Communion: A Questioning - with texts by British poet and librettist Euan Tait which offer chant-like settings that extend the project's core themes, anchoring the whole in a wider human arc. Artistic Director and conductor Craig Hella Johnson is passionate about the power of Buller's music in this moment, saying: "We find ourselves in a pivotal cultural moment-one that calls for expressions of beauty and truth, offered both for inspiration but also as acts of resistance. This collaborative art-Mark Buller's music and the words of Leah Lax and Euan Tait-creates a space of welcome where we are reminded of our shared humanity, our urgent need for bold truth-telling, and our capacity to heal and grow." Conspirare is at their finest in this music and singers Simon Barrad, Emily Yocum Black, and Michael Hawes can be heard in solo roles. Conspirare is joined by dynamic instrumental collaborators Patrice Calixte, Mariama Alc�ntara, Bruce Williams, Douglas Harvey, Jessica Valls, Marc Garvin, and Thomas Burritt.

Lieder by Hanns Eisler, Rudi Stephan, Robert Kahn, Charles Ives "The album REMEMBRANCE is intended to convey the hope and desperate desire for peace - born of conscious memory and the lessons from the past. With this, my debut album, I want to encourage listeners to reflect and consciously remember the suffering and destruction of war and it's physical and psychological consequences. It should be a remembrance of those who fought for a better world, or dreamed of it. A memorial to all of those who innocently lost their lives far too early. The message of this music is today, unfortunately, more topical and relevant than ever. It challenges us to reflect on the human consequences of war and reminds us of the unceasing desire for peace and a better future." Marcel Brunner

On 17 April 2026, Divine Art is delighted to present France Revisited, Vol. 2, the second volume of French music for piano four hands from Piano A Deux, the husband and wife team of Robert and Linda Stoodley. France Revisited, Vol.2 includes Gabriel Faure's Dolly Suite, George Onslow's Sonata No.2 in F Minor, Op 22, and the Hungarian Rhapsody No.2 by Franz Liszt, arranged for four hands by Franz Bendel with new cadenzas by Piano A Deux - this is the premiere recording. Faure's Dolly Suite is a charming set of six duets for four hands, written for the daughter of Emma Bardac, who eventually married Debussy.�The Suite was often re-visited by Faure, and in 1906 was arranged for orchestra by Henri Rabaud. The piano duets were first premeired by Alfred Cortot and edouard Risler in 1898. Born in France but of English descent, George Onslow's music found approval from elites like Robert Schumann and Felix Mendelssohn, being crowned the "French Beethoven" by his publisher and other contemporaries, although later falling out of favour. During their research into less well-known composers, Piano A Deux discovered Onslow's duet sonatas in a dusty library drawer. The Opus 7 Duo Sonata was recorded for the first volume of France Revisited and the Sonata No.2 in F Minor, Opus 22 is heard in this second volume. Given many performances by Chopin and Liszt, it is conceived on a grand scale, symphonic in structure and reflects the Beethovenian aspects of Onslow's style. Liszt's Hungarian Rhapsody No.2 is probably one of the best-known solo pieces in the piano repertoire, from a composer who stands like a colossus in the pianist world, crossing geographical boundaries. Piano A Deux have taken Bendel's arrangement for four hands, adapted it and written their own cadenzas, returning the piece to it's virtuosic persona. An adventurous piano duo with a wide repertoire which includes major classical works and their original arrangements from the world of opera, film and musical theatre, Piano A Deux have performed in countries like Singapore, Italy, Germany and Finland to standing ovations. Meanwhile their concerts on cruise ships have won them a large following of seasoned concertgoers as well as new audiences who are delighted by their unique themed programs, exquisite music-making and charisma blended with humour." Novel programming presented with charm, humour and drama, combined with their original arrangements has won them many fans worldwide. Surprisingly, Robert & Linda met online, not through music. They married in 2008 and "Piano � Deux" was formed in 2010. Piano A Deux have been hailed as being worthy of taking on the mantle of longtime Divine Art recording artists Goldstone and Clemmow, a duo whose career was aborted by the untimely death of Anthony Goldstone. Their playing in 'France Revisited' Vol 1 was praised as "piano four hands... at it's very best.."