(0:00) Allegro con spirito (5:47) Andante (12:48) Allegro molto Mvt 1: Allegro con spirito [Sonata form] EXPOSITION (0:00) Primary Theme (P1) in D major, presented in unison by the two pianists. (0:07) First Counter-Theme (P2). A gentle conversation in scales begins, as simple as possible. (0:28) Transition Section. Piano II echoes the descending arpeggios of Piano I, as we approach the secondary dominant (D, Bm, G, E7). (0:41) Pedal point in the secondary dominant (E7). (0:57) Secondary Theme (S1) in the dominant (A major). Piano II enunciates a soothing melody while Piano I comments with little hoots. The theme is repeated, but now the dialogue happens imitatively between both LHs and RHs. (1:25) Second Counter-Theme (S2). The transitional scales return, rising diatonically above a dominant pedal point; this time, Piano I echoes II. At 1:37, the echo-effect is applied to chords. (1:50) Third Counter-Theme (S3). Descending sequence. (2:07) Cadence using scales in unison. DEVELOPMENT (2:21) Episode 1: Piano II utters a new theme in A major (D1) in parallel octaves. At 2:29, Piano I repeats it while a counter-subject is stated by Piano II. (2:38) Episode 2: Development of D1. The melody appears in D minor, then it keeps changing as a dialogue between the two pianos emerges and dissolves into fragments. (3:07) Cadence, tonic preparation. RECAPITULATION (3:12) P1 + P2. At 3:39, P2 slips into the subdominant (G major). (3:43) Modified Transition Section (G, Em, A7, D). (3:58) S1 + S2 + S3 in the tonic. (5:08) Sudden intrusion of D1 in the tonic. The theme is finally incorporated into the recapitulation. (5:29) Coda. Mvt. 2: Andante [Sonata form] EXPOSITION (5:47) Primary Theme (P1) in G major. (6:26) First Counter-Theme (P2). The strettos produce some marvellous dissonance. The melody slides into the secondary dominant (A major), leading us straight to (6:57) Secondary Theme (S1) in the dominant (D): melodic fragments above an ostinato. (7:50) Second Counter-Theme (S2). (8:25) Cadence. DEVELOPMENT (8:37) Episode 1: appearance of a new theme (D1) in the dominant. (9:30) Episode 2: a sequence of modulations that prepares us for the tonic (Dm, E, Am, B, Em, Am, D7). RECAPITULATION (9:54) P1 + Modified P2. Instead of going to the subdominant, at 10:54 we start modulation in a circle (G7, C, Am, D7, G). (11:06) S1 in the tonic (G major). (11:59) Instead of S2, we hear some chords, culminating in a dim7 arpeggio. (12:21) Coda. Mvt. 3: Allegro molto [Sonata-Rondo] (12:48) Theme A in D major. The turning figure is Motive 1. (13:15) Transition Section, modulating to the dominant (A major). (13:37) Theme B1 in A minor. It then modulates to the relative, C major. At 13:54, we go back to Am, until a long trill suspends the momentum. (14:32) Theme B2, now in the 'right' key of A major. A sequence of warm chords followed by a fast dialogue between pianos. (15:02) Transition, using motives from Theme A. (15:18) Theme A in the tonic. At 15:34, a sudden deviation to D7 leads us directly into (15:38) Theme C in the subdominant (G major): the theme is presented in a Small Ternary structure, the two pianos taking turns to enunciate each phrase. (16:19) Modified Transition Section, preparing for the dominant. (16:41) Theme B1 in the parallel minor (Dm). (17:43) Theme B2 in the tonic. (18:18) Theme A appears abruptly for the last two times. (18:56) Coda based on Theme A's motifs. Piano 1: Lucas Jussen Piano 2: Arthur Jussen This video is dedicated to ᄌᄒᄎᄏᄏᄏ. ... https://www.youtube.com/watch?v=jsxtaxd25Vk

I. Allegro ma non troppo, un poco maestoso (0:00) II. Scherzo. Molto vivace — Presto (13:26) III. Adagio molto e cantabile (26:45) IV. Presto (38:44) Conductor: Giovanni Antonini Orchestra: Kammelorchester Basel NFM Choir Soprano: Regula Mühlemann Alto: Marie-Claude Chappuis Tenor: Maximilian Schmitt Bass: Thomas E. Bauer ... https://www.youtube.com/watch?v=S1jHgeCtc3w