For us, piano duets are a particularly special form of musical expression, somewhere between solo playing and chamber music. If the two-headed dragon of fairytales were to exist, he would probably feel something like a duo playing piano duets. Two performers on one instrument, who have to function as a complete unit. Every musical thought and idea, every feeling and motion must immediately be transformed into a shared intention. Meanwhile other obstacles to be overcome include a slightly awkward position at the keyboard, and the fact that only one player uses the pedals of the piano. And yet playing duets is such an incredible source of inspiration, the benefit is reaped in all other genres of music-making. Great masters composed extremely generously for this combination. Starting with the masterpieces of Mozart up to the present day, piano duets have a rich, varied repertoire at their fingertips. (Izabella Simon, Dénes Várjon)

This thirteenth release in the Toccata Classics exploration of the music of Ferenc Farkas (1905–2000) puts some of his chamber music with violin in the spotlight – bookended here by two works for string quartet. As with previous albums in this series, the music highlights the characteristics that make Farkas’ music so appealing: catchy tunes, transparent textures, buoyant rhythms, a fondness for Baroque forms and a taste for the folk-music of his native Hungary that marks him out as a true successor to Bartók and Kodály.

There are always musical child prodigies. Faster, more powerful, more perfect than previously imaginable. But there are also "senior prodigies". They reveal not only structure and time earned wisdom but also an inner sense of greatness. At the same time they talk about themselves and their lives, where they come from or where they are going, on the basis of pieces that they have often carried around with them since youth. About their dreams, which are also those of youth. "What would you most like to play?" I asked 74-year-old Miklós Perényi when we were thinking together about the program for this recording. The result was an unusual recital, volume 2 of the TACET series "Summary".

“…Weithaas and Várjon have a great deal to say and are not afraid to say it, but their focus of interest is always and emphatically Beethoven – not themselves.” (MusicWeb Intern’l July 23).

Both highly in demand on a worldwide scale as unique, exceptional chamber music performers: Antje Weithaas and Dénes Várjon each ideally combine the highest degree of enthusiasm and precision: their energetic, passionate playing is the result of intense concentration and precision, combined with a large portion of musicality.

“In Antje Weithaas’s und Dénes Várjon’s complete edition of these sonatas in three volumes, each individual release is designed to illustrate those stages of artistic development (instead of featuring the works in strict chronological order). From the onset, Beethoven ascribed utter importance to the principle of dialogue between the two instruments, as we can infer from a letter he wrote to Artaria on 19 June 1793…
The current Vol. 2 release contrasts the third sonata (in E Flat Major) of the early Op. 12 group with the second and third sonatas of Op. 30. The CD begins with the C Minor Sonata Op. 30, which is undoubtedly one of the two most dramatic sonatas among all ten works in the same genre (the other one being the “Kreutzer” Sonata Op. 47).

The E Flat Major sonata is also the most dramatic one within Op. 12. On the other hand, the last sonata (G Major) in Op. 30 provides a contrast in the form of a cheerful “final dance” (Kehraus), a function it also fulfils on this CD in the wake of the E Flat Major Sonata Op. 12.

Both highly in demand on a worldwide scale as unique, exceptional chamber music performers, Antje Weithaas and Dénes Várjon each ideally combine the highest degree of enthusiasm and precision: their energetic, passionate playing is the result of intense concentration. In Vol. I of their complete recording of Beethoven’s violin sonatas, Weithaas and Várjon have chosen not to follow chronological order, but to seek out thrilling contrast and fascinating variety instead – thus making Beethoven’s rapid evolution as a composer all the more astounding.