Biography
Studies in Stuttgart (with Renate Werner) and Frankfurt (with Herbert Seidel) were followed by a two-year postgraduate course with Frank Wibaut, Hamish Milne and Stephen Kovacevich at the Royal Academy of Music London (concert diplomas solo and duo with distinction) and private lessons with Alfred Brendel. Further valuable artistic inspiration came from Bruno Canino and Norbert Brainin.
Winners of 11 international competitions (e.g. ARD/ Munich 1986, Dranoff/ Miami 1989), their extensive career has taken them to almost all European countries, to North and South America, West Africa, Japan, China and Hong Kong. In 1991 they made their debut at the Salzburg Festival. They have appeared in major concert halls throughout the world since:
Royal Festival Hall London, Wigmore Hall London, Merkin Concert Hall New York, Nichols Concert Hall Chicago, Lincoln Theatre Miami, Suntory Hall Tokyo, Cultural Centre Hong Kong, Philharmonic Hall Guangzhou, Philharmonie Berlin, Konzerthaus Berlin, Frauenkirche Dresden, Tonhalle Düsseldorf, Alte Oper Frankfurt, Laeiszhalle Hamburg, Philharmonie Köln, Herkulessaal München, Gasteig München, Liederhalle Stuttgart, Salle Gaveau Paris, Stefaniensaal Graz, Centro culturale San Michele Rom, Philharmonic Hall Bratislava, Ateneul Bucharest, Kolarac Belgrade, Philharmonic Hall Belgrade, Manoel Theatre Malta, International House of Music Moscow, Philharmonic Hall St. Petersburg, Philharmonic Hall Nishnij Novgorod, Organ Hall Arhangelsk, Philharmonic Hall Ufa, Opera House Kairo, Opera House Alexandria, Teatro Teresa Careno Caracas and many more.
In 2019 the Stenzl Piano Duo made three highly successful debut recitals in China: in June at the 3rd International Piano Festival in Beijing, in September at the Oriental Art Centre in Shanghai, and in December at the Lang Lang Concert Hall in Guangzhou.
Hans-Peter and Volker played as soloists under the batons of Helmuth Rilling, Karl Anton Rickenbacher, Konrad Latte, Gerd Albrecht, Neal Stulberg, Wojciech Rajski, Max Pommer, Yordan Kamdzhalov, Wolf-Dieter Hauschild, Christfried Göckeritz, Werner Stiefel, Wolfgang Schäfer, Hans Michael Beurle, Michael Reif, Hartmut Haenchen, Daniel Raiskin, Wayne Marshall, Martin Fischer-Dieskau, Thomas Hengelbrock, Dirk Joeres, Hans-Christoph Rademann, Michel Tabachnik, Gustavo Dudamel and others.
More than 15 highly coveted CDs as well as radio and television productions testify to the enormous stylistic range of the Stenzls on one and on two pianos.
On the musical-literary scene they have collaborated with Karl Michael Vogler, Hans Clarin, Loriot, Anne Bennent, Nina Petri, Gisela Schneeberger, Annegret Müller, Bernt Hahn, Roger Willemsen, Ulrich Wildgruber, Stefan Fleming, Hanns Zischler and others.
Short biography
For over 30 years now, Hans-Peter and Volker Stenzl have been setting a benchmark for pianistic brilliance, musical intelligence and sensitivity as well as nuanced illumination of complex four-hand and two-piano scores.
Studies in Stuttgart, Frankfurt and London and eleven competition prizes (1986 ARD, 1989 Dranoff) were followed by an extensive international career and collaboration with world-famous conductors, such as Gustavo Dudamel and Helmuth Rilling.
The Stenzls are also deeply devoted and highly sought-after pedagogues. They are the holders of the first international chair of piano duo studies (at the hmt Rostock/Germany) and, in addition, teach in Stuttgart (Hans-Peter) and Trossingen (Volker). In 1996 they were appointed Associates of the Royal Academy of Music London.
A great number of international prize-winners testify to their inspiring teaching.
News
- Beijing debut at the 3rd International Piano Festival
On the evening of June 6th, the Opera and Concert Hall of the Central Conservatory of Music was crowded and bustling with excitement. The Stenzl Piano Duo Concert was successfully staged here. The Stenzl brothers are world-renowned German duo pianists, they are winners of 11 top international competitions: including the ARD competition in Germany; the Dranoff international competition in the United States etc. Their cooperation and performance are very delicate, acute, and full of spirituality, and it was called by the media "A spiritual soloist with four hands." Tonight, they had performed two masterworks of piano four hands and two pianos.
On the first half of the concert, they performed the Sonata in C major for piano four-hands, D 812 by Franz Schubert, also known as Grand Duo, is one of Schubert's most important works for two pianists. It consists with four movements, the first movement of this work reflects the tonal layout of the “three-key exposition,” this was a representative tonal layout which showed in Schubert’s compositions after 1820s. In the first movement, the tonal structure of the exposition is "I (1st theme) - ♭ VI (2nd theme ) - V (3rd theme) - V (closure)". The second movement is Andante in A-flat major, which sounded elegant and exquisite, the simplicity in this movement gave me a sense of “still water runs deep.” The third movement is Scherzo and Trio, and the finale is a lively allegro. The musical dialogue between the primo and secondo showed an extremely high quality of cooperation and profound musical understanding by the Stenzl brothers. All the musical emotions and characters were presented precisely, and flowed naturally through out the entire work. At the same time, it also gave various changes in harmonic layers and timbre. It was incredible to believe that such perfect piano performance was actually accomplished by two individual pianists.
The Stenzl brothers performed the Symphony No. 4 in E minor, Op. 98 by Johannes Brahms for the second half of the concert. This work was composed in 1885 which contains four movements. The whole work demonstrates the senses of loneliness, profound, strength, pessimistic melancholy, and it evokes the sadness of the sunset along with autumn wind. Brahms was influenced by the famous Greek tragedy "Oedipus the King" when he composed this work, the grief and terror were the key emotion which penetrated into every fiber of the work. In the beginning we could felt the tendency of romanticism, then it came to a brave and unrestrained Scherzo, the last movement brought us back to the Baroque period. The Stenzl brothers completely reproduced the brilliant effect of a full orchestra, their playing expressed both grandness and gracefulness, the tempo was very steady while maintaining the enthusiasm at the same time. They also had a great imitation on the sounds of individual instrument, and they both were highly sensitive to the layers of sound, I could literally hear a performance of various instruments. Undoubtedly Their seamless performance could be completely comparable to an orchestra concert.
In the end, along with hearty rounds of applause and exciting atmosphere in the audience, the Stenzl brothers performed two encores: Debussy's four-handed work "En Beteau" and Polenc's double piano work "L'embarquement pour Cythère valse -musette.” They wisely picked these two short French pieces were in stark contrast to the two previous grand masterworks, and the concert ended in a relaxed and cheerful atmosphere.Most notably, they played the entire concert program from memory, which I founded as a great challenge for both four-handed and double-piano performances. Playing from memory definitely increased the level of difficulty, because normally in ensemble work, if any one of them have some sort of slip up, it is likely to cause serious consequences for both performers. Along with this challenge, the Stenzl brothers lived up to expectations and presented a very high-profiled piano duo performance, which greatly bettered the level of this concert. They both had left a deep impression on their wonderful performance to the audience. Let us continue to look forward to the rest following exciting activities in the festival! -
A piece that isparticularly dear to any piano duo is Franz Schubert´s Fantasy in f minor. We have conceived a lecture recital called "psychograph of a human soul". Schubert wrote this most touching and best-known work for four hands six months before he died. It represents the course of a human life, from its birth to the final death cry, including a glimpse into an afterworld. Where does this music come from? How does Schubert develop the sad and longing opening theme? How does he put the passing of time into music?We want to illuminate these questions before playing the entire piece.Duration: approx. 1 hour, no interval
- WDR 3: Together with Antonia Ronnewinkel we explore Max Regers` Beethoven variations op.86
http://www1.wdr.de/radio/wdr3/musik/wdr3-werkbetrachtungen/index.html
Concerts 2024
21 March 7:30 pm |
Heilbronn |
4 April |
Triest (IT) |
4 June 9 and 11am |
Stuttgart, mit den Stuttgarter Philharmonikern |
5 June 9 and 11am |
Stuttgart, mit den Stuttgarter Philharmonikern |
6 June 9 and 11am 6pm |
Stuttgart, mit den Stuttgarter Philharmonikern |
3 August 7pm |
Bonn |
26 August 9:15pm |
Finale Ligure (IT) |
28 August 9:15pm |
Finale Ligure (IT) |
2 September 7pm |
Donzdorf |
9 September 7pm |
Kloster Ochsenhausen |
27 September 7pm |
Neusalza-Spremberg |
16 November 2pm |
Kloster Aldersbach |
17 November 11am |
Blaibach |
21 November |
Guangzhou/China, Xinghai Concert Hall |
22 November |
Guangzhou/China, Xinghai Conservatory, Lang Lang Concert Hall |
27 December 6:30pm |
Vitznau (CH) |
28 December 6:30pm 7pm |
Vitznau (CH) |
Diskography
Britten, Ravel, Strawinsky, Lutoslawski
"They set to work with considerable feeling for virtuosity and precise outlines and should be considered serious contenders for a place among the current top duos."
(Der Musikmarkt 12/1990)
Benjamin Britten (1913-1976)
1. | Introduction and Rondo alla Burlesca op.23/1 | 9:00 |
2. | Mazurka Elegiaca op. 23/2 | 7:30 |
Maurice Ravel (1875-1937)
3. | La Valse | 11:45 |
Igor Strawinsky (1882-1971)
4.-7. | Concerto per due pianoforte soli | 21:50 |
Witold Lutoslawski (1913-1994)
8. | Variationen über ein Thema von Paganini | 5:22 |
FREIBURGER MUSIK FORUM GmbH
AM 1088-2
Schubert
"The Stenzl Duo’s lovingly shaped phrasing and powerfully built climaxes in the fugue leave the deepest impression."
(BBC Music Magazine, 10/1996)
Franz Schubert (1797-1828)
Sonate für Klavier zu vier Händen C-Dur, D 812, op. posth. 140
“Grand Duo”
1. | Allegro moderato | 11:17 |
2. | Andante | 9:33 |
3. | Scherzo. Allegro vivace | 5:24 |
4. | Allegro vivace | 9:27 |
Fantasie für Klavier zu vier Händen f-moll, D 940 (op.103)
5. | Allegro molto moderato -Largo- Allegro vivace –Con delicatezza |
18:10 |
Membran
ARS MUSICI 232163
Brahms, Vierhändige Klaviermusik
Live-Aufnahme
"A duo-piano version of a great orchestral serenade proves a revelation, unexpectedly brilliant and lucid."
(The New York Times, 07/1996)
Johannes Brahms (1833-1897)
Serenade op.11, D-Dur
1. | Allegro molto | 9:14 |
2. | Scherzo (Allegro non troppo) Trio (poco più animato) | 6:25 |
3. | Adagio non troppo | 11:37 |
4. | Menuetto I & II | 3:47 |
5. | Scherzo (Allegro) Trio | 2:31 |
6. | Rondo (Allegro) | 6:05 |
7.-17. | Variationen über ein Thema von Robert Schumann, op.23, Es-Dur | 18:31 |
Ungarische Tänze 1-6
18. | Allegro molto g-moll | 2:59 |
19. | Allegro non assai d-moll | 3:00 |
20. | Allegretto F-Dur | 2:28 |
21. | Poco sostenuto f-moll | 4:04 |
22. | Allegro fis-moll | 2:01 |
23. | Vivace Des-Dur | 3:39 |
Johannes Brahms
24. | Walzer op.39 Nr.15, A-Dur | 1:48 |
FREIBURGER MUSIK FORUM GmbH
AM 1130-2
Brahms, Symphonie Nr. 4
"Brahms’ Fourth twice in the same guise yet fundamentally different in the sound of the pianos. This is not something that can be heard every day, nor as superbly played. Congratulations!"
(Fono Forum 03/1999)
Johannes Brahms (1833-1897)
Symphonie Nr.4, e-moll, op.98 in der Bearbeitung für 2 Klaviere
Auf 2 Fazioli-Flügeln (Kunsthaus Mürzzuschlag)
1. | Allegro non assai | 11:15 |
2. | Andante moderato | 9:55 |
3. | Presto giocoso | 6:06 |
4. | Allegro energico e passionato | 9:12 |
Auf 2 historischen Instrumenten von Bachmann bzw. Streicher
(Brahms-Museum Mürzzuschlag)
5. | Allegro non assai | 11:39 |
6. | Andante moderato | 10:10 |
7. | Presto giocoso | 6:17 |
8. | Allegro energico e passionato | 9:32 |
FREIBURGER MUSIK FORUM GmbH
AM 1232-2
Brahms, Liszt, Reger
"Seldom has a duo achieved such mature harmony. The Stenzls produce conscientiousness, precision and dynamic nuances quite naturally."
(Piano News 09/1999)
Brahms · Liszt · Reger
Johannes Brahms (1833-1897)
Variationen über ein Thema von Haydn
für zwei Klaviere B-Dur op.56b „Haydn-Variationen“
1. | Thema: Chorale St. Antoni. Andante | 2:22 |
2. | Var.1 Andante con moto | 1:20 |
3. | Var.2 Vivace | 0:57 |
4. | Var.3 Con moto | 1:43 |
5. | Var.4 Andante | 2:07 |
6. | Var.5 Poco presto | 0:58 |
7. | Var.6 Vivace | 1:17 |
8. | Var.7 Grazioso | 2:48 |
9. | Var.8 Poco presto | 0:55 |
10. | Finale. Andante | 4:10 |
Max Reger (1873-1916)
Variationen und Fuge über ein Thema von Beethoven für zwei Klaviere op.86
11. | Thema. Andante | 1:27 |
12. | Var.1 Un poco più lento | 1:40 |
13. | Var.2 Agitato | 1:18 |
14. | Var.3 Andantino grazioso | 1:42 |
15. | Var.4 Andante sostenuto | 2:01 |
16. | Var.5 Appassionato | 1:12 |
17. | Var.6 Andante sostenuto | 2:28 |
18. | Var.7 Vivace | 0:50 |
19. | Var.8 Sostenuto | 2:04 |
20. | Var.9 Vivace | 1:04 |
21. | Var.10 Poco vivace | 1:31 |
22. | Var.11 Andante con grazia | 1:34 |
23. | Var.12 Allegro pomposo | 2:10 |
24. | Fuge. Allegro con spirito | 4:59 |
Franz Liszt (1811-1886)
25. | Réminiscences de Don Juan de Mozart für zwei Klaviere (Raabe 379) | 16:06 |
Membran
ARS MUSICI 232278
Brahms - Liebesliederwalzer, Walzer, Neue Liebesliederwalzer
Johannes Brahms (1833-1897)
1.-3. | Liebeslieder op. 52 - Walzer für vier Singstimmen und Klavier zu vier Händen | 22:42 |
4.-7. | 16 Walzer op. 39 - für Klavier zu vier Händen | 17:57 |
8.-10. | Neue Liebeslieder op. 65 - Walzer für vier Singstimmen und Klavier zu vier Händen | 18:53 |
Gershwin, Ravel, Poulenc
"With this CD the Stenzl brothers prove once again that they are top-class. The two pianists succeed in coaxing a maximum of sound magic and atmosphere from the economically set notes."
(Gießener Anzeiger 4.8.2001)
Gershwin, Ravel, Poulenc
George Gerschwin
1. | Cuban Overture (in der originalen vierhändigen Fassung vom Komponisten) |
10:57 |
Maurice Ravel
Ma mère l’oye
2. | Pavane de la Belle au bois dormant | 1:53 |
3. | Petit Poucet | 2:42 |
4. | Laideronette, impératrice des Pagodes | 3:21 |
5. | Les Entretiens de la Belle et la Bête | 3:38 |
6. | Le Jardin féerique | 3:16 |
Francis Poulenc
7. | L’embarquement pour Cythère | 2:14 |
8. | Capriccio (d’après “Le bal masqué”) | 4:52 |
George Gerschwin
9. | Rhapsody in Blue (in der originalen Fassung für 2 Klaviere vom Komponisten) |
18:07 |
FREIBURGER MUSIK FORUM GmbH
AM 1307-2
Strawinsky, Bartók
Klavierduo Hans-Peter und Volker Stenzl
Uwe Arlt, Gyula Rácz – Schlagzeug
"The Stenzls develop a wide spectrum of tone colours and never sound monotonous, not even in the mechanical. Uwe Arlt and Gyula Rácz are past masters in demonstrating the diverse possibilities of the percussion instruments. It goes without saying that these four musicians approach Bartók’s sonata, a document of the despair brought about by the world-wide catastrophe of 1937, the time it was written, with harsh sounds, and that they develop many finely balanced nuances between elemental force and pensiveness. This production is indeed something of a sensation."
(Fono Forum 09/2002)
Strawinsky, Bartók
Igor Strawinsky (1882-1971)
1.-11. | Pétrouchka Bearbeitet für 2 Klaviere und Schlagzeug von Gyula Rácz (Konzertfassung) Weltersteinspielung |
Béla Bartók (1881-1945)
12.-14. | Sonate für zwei Klaviere und Schlagzeug |
FREIBURGER MUSIK FORUM GmbH
AM 1332-2
Wolfgang Amadeus Mozart
"A refreshing breeze blows through this Mozart interpretation without ignoring the layers beneath the surface. Its broken cheerfulness wavers between orchestral potency and sudden intimacy, between self-confidence and hesitation. In short - Mozart incarnate."
(RONDO, Juli 2005)
Sonate für zwei Klaviere D-Dur, KV 448
1. | Allegro con spirito | 7:40 |
2. | Andante | 6:48 |
3. | Molto Allegro | 6:13 |
Fantasie f-moll KV 608 (“Orgelstück für eine Uhr“)
4. | Allegro | 2:45 |
5. | Andante-Tempo I | 6:49 |
Sonate für Klavier zu vier Händen F-Dur, KV 497
6. | Adagio | 2:16 |
7. | Allegro di molto | 6:31 |
8. | Andante | 8:30 |
9. | Allegro | 7:24 |
FREIBURGER MUSIK FORUM GmbH
AM 1386-2
Hommage à Mozart
Klavierduo Hans-Peter und Volker Stenzl Jazzduo Mick Baumeister und Richie Beirach
"Reciprocal reverberations of classical interpretation and jazz adaption reveal surprising relations in the -Hommage à Mozart-."
(Piano News 2/2008)
Hommage à Mozart
1. | Wolfgang Amadeus Mozart (1756-1791) Sonate D-Dur, KV 448 1. Allegro con spirito |
7:41 |
2. | Mick Baumeister Ballade about Mozart |
5:27 |
3. | Richie Beirach Fantasy on a Theme from Mozart Piano Concerto KV 488 Adagio |
7:27 |
4. | Franz Liszt (1811-1886) Réminscences de Don Juan |
15:14 |
5. | Mick Baumeister Vicious Circle |
14:09 |
Wolfgang Amadeus Mozart Sonate C-Dur KV 19d |
||
6. | I. Allegro | 4:23 |
7. | II. Menuetto | 3:13 |
8. | III. Rondeau, Allegretto | 5:09 |
Membran
ARS MUSICI 232417
C. Saint-Saëns, Der Karneval der Tiere
Benefizkonzert für Hellabrunn
Gioacchino Rossini | ||
1. | Ouvertüre zu „Die diebische Elster“ | 9:28 |
Josef Strauß | ||
2. | „Die Libelle“ op.204 | 4:21 |
Igor Strawinsky | ||
3. | „Circus Polka“ –komponiert für einen jungen Elefanten | 3:37 |
Camille Saint-Saëns „Der Karneval der Tiere“ mit Texten von Prof. Herbert Rosendorfer Sprecherin: Gisela Schneeberger Münchner Symphoniker Leitung: Carlos Dominguez-Nieto |
||
4. | Introduktion und Einmarsch des Löwen | 3:31 |
5. | Hühner und Hähne | 1:29 |
6. | Wilde Tiere | 1:36 |
7. | Schildkröten | 2:51 |
8. | Der Elefant | 2:43 |
9. | Kängurus | 1:38 |
10. | Aquarium | 3:09 |
11. | Persönlichkeiten mit langen Ohren | 1:44 |
12. | Der Kuckuck in der Tiefe des Waldes | 3:32 |
13. | Volière | 2:11 |
14. | Pianisten | 2:42 |
15. | Fossilien | 3:03 |
16. | Der Schwan | 4:06 |
17. | Finale | 1:50 |
Nicolai Rimsky-Korsakov | ||
18. | Der Hummelflug | 2:51 |
Vinko Globokar
Trombone Solo: Vinko Globokar
1. | Oblak Semen | 15:50 |
Klavierduo Stenzl
Zwei Klaviere
2. | Discours IX | 18:30 |
26 Instruments: Orchestra Giovanile Italiana
3. | Zlom | 22:40 |
SARGASSO
SCD28037
Mozart Klavierkonzerte
Mozart (1756-1791)
Rainer Koch
1. | Klavierkonzert Nr. 27, KV 595, B-Dur Larghetto | 7:08 |
Christoph Eschenbach
2. | Klavierkonzert Nr. 23, KV 488, A-Dur Adagio | 7:15 |
Lars Vogt
3. | Klavierkonzert Nr. 20, KV 466, D-Moll Romance | 8:43 |
Hans-Peter und Volker Stenzl
4. | Klavierkonzert Nr. 10, KV 365, Es-Dur Andante | 8:35 |
Clemens Berg
5. | Klavierkonzert Nr. 9, KV 271, Es-Dur Andantino | 12:50 |
Fabio Martino
6. | Klavierkonzert Nr. 26, KV 537, D-Dur Larghetto | 7:15 |
Wilms Piano à Quatre Mains
Sonate C-Dur Op.31
1. | Allegro brillante | 10:54 |
2. | Andante | 6:31 |
3. | Allegro molto | 8:30 |
Sonate B-Dur Op.41*
4. | Allegro | 8:05 |
5. | Poco Adagio | 7:14 |
6. | Rondo. Allegro | 6:35 |
*World premiere recording
Eine Produktion des Westdeutschen Rundfunks Köln, 2008
Carus-Verlag 83.434
Die Kinder des Monsieur Mathieu
1.-3. | Bruno Coulais / Rainer Butz (arr.): Drei Lieder aus dem Film "Les choristes" (französisch) | 8:58 |
4.-10. | Manfred Züghart: Ringelnatz-Lieder | 13:00 |
11.-14. | Johannes Knecht: Vier Lieder | 7:05 |
15.-18. | Vic Nees: De zee is een orkest | 10:17 |
19.-21. | Bruno Coulais / Rainer Butz (arr.): Drei Lieder aus dem Film "Les choristes" (deutsch) | 8:43 |
22.-24. | Bruno Coulais / Rainer Butz (arr.): Drei Lieder aus dem Film "Les choristes" - Streicherplayback | 8:47 |
Carus-Verlag 83.456
Brahms, Ein Deutsches Requiem
Brahms, Ein deutsches Requiem, op.45
Bearbeitung für Klavier zu vier Händen vom Komponisten
Aufgenommen auf Brahms´ Originalflügel von Johann Baptist Streicher, Wien 1880
Sprecher: Stefan Fleming
1. |
I. Selig sind, die da Leid tragen |
9:05 |
2. |
Selig sind, die da Leid tragen (Rezitation/Recitation) |
0:33 |
3. |
Denn alles Fleisch, es ist wie Gras (Rezitation/Recitation) |
1:53 |
4. |
II. Denn alles Fleisch, es ist wie Gras |
13:37 |
5. |
Herr, lehre doch mich (Rezitation/Recitation) |
1:07 |
6. |
III. Herr, lehre doch mich |
9:13 |
7. |
IV. Wie lieblich sind deine Wohnungen |
4:47 |
8. |
Wie lieblich sind deine Wohnungen (Rezitation/Recitation) |
0:38 |
9. |
Ihr habt nun Traurigkeit (Rezitation/Recitation) |
0:45 |
10. |
V. Ihr habt nun Traurigkeit |
6:43 |
11. |
Denn wir haben hie keine bleibende Statt (Rezitation/Recitation) |
1:35 |
12. |
VI. Denn wir haben hie keine bleibende Statt |
10:16 |
13. |
Selig sind die Toten (Rezitation/Recitation) |
0:28 |
14. |
VII. Selig sind die Toten |
11:24 |
Brücken
"...Dabei ist es beeindruckend, wie unprätentiös und kantabel die Stenzls Regers Variationen bis hin zur machtvollen Fuge ausspielen.... bei den Stenzls erhält das Werk (Ligeti) eine Transparenz und Klassizität, die das Werk in einem ganz neuen Licht erscheinen lässt." (Gregor Willmes, FonoForum10/2016)
"...Bemerkenswert an dieser in jeglicher Hinsicht überzeugenden Produktion ist insbesondere die Fähigkeit des Duos, vermittels eminenter organischer Spieltechnik eine Linie zu destillieren, die das heterogene Repertoire zusammenbindet und gleichermaßen zu klanglicher Abstraktion führt. Wir vernehmen signifikant uneitle Pianistik, die weniger dem Effekt als Zwischentönen und Strukturen verpflichtet ist." (Martin Hoffmeister, Gewandhaus-Magazin)
"...Überaus klangsinnlich kann ihr Spiel sein und sodann zupackend erhaben...Das alles changiert zwischen Romantik und Moderne. Jeder Komponist erhält eine eigene Färbung, einen eigenen Tonfall." (Marco Frei, PianoNews 5/2016)
Györgi Kurtág (*1926)
aus "Játékok - Spiele für Klavier" (1973-2010)
1. | Nebelkanon | 1:34 |
2. | Zorniger Choral | 1:03 |
3. | Spiel mit dem Unendlichen | 0:41 |
4. | Hommage à Verdi (sopra "caro nome che il mio cor") | 2:38 |
5. | Hommage à Szervánsky (Stille) | 0:51 |
6. | Kyrie | 2:28 |
7. | Hommage à J.S.B. | 1:06 |
Choralbearbeitung
8. | "Alle Menschen müssen sterben", BWV 643 | 2:29 |
Férrucio Busoni (1866-1924)
9. | Improvisation über den Choral "Wie wohl ist mir, o Freund der Seelen", BMV 517 (1916) | 16:44 |
György Ligeti (1923-2006)
Sonatina(1950)
10. | Allegro | 1:13 |
11. | Andante | 1:53 |
12. | Vivace | 1:29 |
Max Reger (1873-1916)
Variationen und Fuge über ein Thema von Ludwig v. Beethoven op. 86 (1904)
13. Thema. | Andante | 1:38 |
14. Var. 1 | Un poco più lento | 1:57 |
15. Var. 2 | Agitato | 1:22 |
16. Var. 3 | Andantino grazioso | 1:55 |
17. Var. 4 | Andante sostenuto | 2:09 |
18. Var. 5 | Appassionato | 1:14 |
19. Var. 6 | Andante sostenuto | 2:33 |
20. Var. 7 | Vivace | 0:50 |
21. Var. 8 | Sostenuto | 2:05 |
22. Var. 9 | Vivace | 1:04 |
23. Var. 10 | Poco vivace | 1:41 |
24. Var. 11 | Andante con grazia | 1:38 |
25. Var. 12 | Allegro pomposo | 2:28 |
26. Fuge. | Allegro con spirit | 5:33 |
Poetik des Untergangs
Werke von Maurice Ravel und Johannes Brahms
Klavierduo Stenzl
Hans-Peter Stenzl
Volker Stenzl
Maurice Ravel (1875 – 1937)
01 | La Valse – Poème chorégraphique (1919/20) | 12:20 |
Johannes Brahms (1833 – 1897)
02 – 05 | Symphonie Nr. 4 e-Moll op. 98 (1884/85) | 42:10 |
Gesamtspielzeit | 54:32 |
Genuin classics, GEN 20719
Laudate Dominum
Werke von Nottebohm, Nietzsche, Denhoff, Piazzolla, Strawinsky, Bach und Kurtág
Klavierduo Stenzl
Hans-Peter Stenzl
Volker Stenzl
Martin Gustav Nottebohm (1817 – 1882)
01 –10 | Variationen über ein Thema von J. S. Bach, op. 17 | 18:35 |
Friedrich Nietzsche (1844 – 1900)
11 | Monodie à deux (Lob der Barmherzigkeit), NWV 39 | 09:29 |
Michael Denhoff (*1955)
12 | (k)ein Choral Weltersteinspielung | 06:10 |
Astor Piazzolla (1921 – 1992)
13 | Fuga y Misterio aus der Oper María de Buenos Aires | 05:39 |
Igor Strawinsky (1882 – 1971)
14 – 16 | Psalmensinfonie, K052 | 20:38 |
J. S. Bach (1685 – 1750) / György Kurtág (*1926)
17 | Jesus bleibet meine Freude, BWV 147 Zorniger Choral aus Játékok IV |
03:13 |
Gesamtspielzeit | 63:46 |
Genuin classics, GEN 23829
Strawinsky, Brahms
Igor Strawinsky · Johannes Brahms
Klavierduo Hans-Peter und Volker Stenzl
Gyula Rácz · Uwe Arlt · Neuer Kammerchor Regensburg · Kunibert Schäfer
"And of course the Stenzls are really fabulous pianists!"
(Fono Forum 01/2005)
Pétrouchka (arr.: G.Rácz)
Liebeslieder-Walzer op.52
Recorded at Hochschule für Musik und darstellende Kunst Stuttgart (Strawinsky)
and historischer Saal Regensburg; Location shots in Etterzhausen/Oberpfalz
and Weltenburg/Donaudurchbruch (Brahms)
Cameleon Film Frankfurt a.M
ARTHAUS
Cat.-Nr. 100715
Gallery
Fotos:
1-2, 24 Andreas Keller, Stuttgart
3 Jun Han
4 ©VISCOM Fotografie
5-23 ©Hostrup-Fotografie
25 Holger Schneider
Live
Brahms Hungarian Dances 3 and 8 - ZDF 1990
Johannes Brahms: Ungarische Tänze Nr. 3 und 8 für Klavier zu vier Händen
ZDF, "Junge Talente", 1990
Bach BWV 1065
Johann Sebastian Bach: Konzert für vier Klaviere und Orchester, BWV 1065
Konzert vom 23. Mai 2013 im Katharinensaal, Rostock mit dem LP-Duo (Sonja Loncar & Andrija Pavlovic, Belgrad) sowie Stefan Hempel und Holger Wangerin, Violine, Haruka Abe, Viola, Thomas Kaufmann, Violoncello
D 940
Franz Schubert: Fantaisie f-Moll für Klavier zu vier Händen, D 940
Konzert vom 9. Juli 2014 im Katharinensaal, Rostock
Felix Mendelssohn Bartholdy
Concerto in E major, 2nd and 3rd movement
30 January 2009, Sala Simón Bolívar, Caracas
Simón Bolívar Youth Orchsetra
Conductor: Gustavo Dudamel
Rhapsody In Blue
La Valse - poème chorégraphique
Teaching
"To teach a young person does not mean to fill a bucket, but to light a fire." (Aristoteles, 384-322 B.C.)
Since 1999 Hans-Peter and Volker Stenzl have been holders of an internationally unique chair of advanced piano duo studies at the HMT Rostock. Many of their student teams are international prize-winners (https://www.hmt-rostock.de/aktuelles-service/erfolge-engagements/).
Application: www.hmt-rostock.de
Masterclasses:
30th May - 2nd June - Bundesakademie Trossingen (https://www.dtkv-bawue.de/termine)
15th-22nd July 2024 - Paris (Hans-Peter Stenzl only, www.academiesgrandparis.com)
6th-11th August 2024 - Opole/Poland (Volker Stenzl only) www.kurs.opole.pl
9th-14th September 2024 - Landesakademie Ochsenhausen (www.landesakademie-ochsenhausen.de)
19th - 23rd December 2024 - Landesmusikakademie Rheinland-Pfalz (www.landesmusikakademie.de)
In addition, Hans-Peter teaches at the Music University in Stuttgart (solo and duo), Volker in Trossingen (solo and duo).
Contact us
Management
Konzertbüro Andreas Braun
Sülzgürtel 86
D-50937 Köln
Phone (0221) 9 420 430
Fax (0221) 9 420 43 19
E-Mail braun@angel.de
www.konzertbuero-braun.de
Imprint
Data Protection
Imprint
Angaben gemäß § 5 TMG:
Konzertbüro Andreas Braun
Sülzgürtel 86
D-50937 Köln
Vertreten durch:
Andreas Braun
Kontakt:
Telefon: | 02219420430 |
Telefax: | 02219420430 |
E-Mail: | braun@angel.de |
Umsatzsteuer-ID:
Umsatzsteuer-Identifikationsnummer gemäß §27 a Umsatzsteuergesetz:
DE 123043512
Haftungsausschluss (Disclaimer)
Haftung für Inhalte
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Privacy Policy
1. An overview of data protection
General
The following gives a simple overview of what happens to your personal information when you visit our website. Personal information is any data with which you could be personally identified. Detailed information on the subject of data protection can be found in our privacy policy found below.
Data collection on our website
Who is responsible for the data collection on this website?
The data collected on this website are processed by the website operator. The operator's contact details can be found in the website's required legal notice.
How do we collect your data?
Some data are collected when you provide it to us. This could, for example, be data you enter on a contact form.
Other data are collected automatically by our IT systems when you visit the website. These data are primarily technical data such as the browser and operating system you are using or when you accessed the page. These data are collected automatically as soon as you enter our website.
What do we use your data for?
Part of the data is collected to ensure the proper functioning of the website. Other data can be used to analyze how visitors use the site.
What rights do you have regarding your data?
You always have the right to request information about your stored data, its origin, its recipients, and the purpose of its collection at no charge. You also have the right to request that it be corrected, blocked, or deleted. You can contact us at any time using the address given in the legal notice if you have further questions about the issue of privacy and data protection. You may also, of course, file a complaint with the competent regulatory authorities.
2. General information and mandatory information
Data protection
The operators of this website take the protection of your personal data very seriously. We treat your personal data as confidential and in accordance with the statutory data protection regulations and this privacy policy.
If you use this website, various pieces of personal data will be collected. Personal information is any data with which you could be personally identified. This privacy policy explains what information we collect and what we use it for. It also explains how and for what purpose this happens.
Please note that data transmitted via the internet (e.g. via email communication) may be subject to security breaches. Complete protection of your data from third-party access is not possible.
Notice concerning the party responsible for this website
The party responsible for processing data on this website is:
Volker Stenzl
Klavierduo Stenzl GbR
Akazienweg 25
73527 Schwäbisch Gmünd
Telephone: 07171351515
Email: stenzlvolker@aol.com
The responsible party is the natural or legal person who alone or jointly with others decides on the purposes and means of processing personal data (names, email addresses, etc.).
Revocation of your consent to the processing of your data
Many data processing operations are only possible with your express consent. You may revoke your consent at any time with future effect. An informal email making this request is sufficient. The data processed before we receive your request may still be legally processed.
Right to file complaints with regulatory authorities
If there has been a breach of data protection legislation, the person affected may file a complaint with the competent regulatory authorities. The competent regulatory authority for matters related to data protection legislation is the data protection officer of the German state in which our company is headquartered. A list of data protection officers and their contact details can be found at the following link: https://www.bfdi.bund.de/DE/Infothek/Anschriften_Links/anschriften_links-node.html.
Right to data portability
You have the right to have data which we process based on your consent or in fulfillment of a contract automatically delivered to yourself or to a third party in a standard, machine-readable format. If you require the direct transfer of data to another responsible party, this will only be done to the extent technically feasible.
Information, blocking, deletion
As permitted by law, you have the right to be provided at any time with information free of charge about any of your personal data that is stored as well as its origin, the recipient and the purpose for which it has been processed. You also have the right to have this data corrected, blocked or deleted. You can contact us at any time using the address given in our legal notice if you have further questions on the topic of personal data.
Opposition to promotional emails
We hereby expressly prohibit the use of contact data published in the context of website legal notice requirements with regard to sending promotional and informational materials not expressly requested. The website operator reserves the right to take specific legal action if unsolicited advertising material, such as email spam, is received.
3. Data collection on our website
Cookies
Some of our web pages use cookies. Cookies do not harm your computer and do not contain any viruses. Cookies help make our website more user-friendly, efficient, and secure. Cookies are small text files that are stored on your computer and saved by your browser.
Most of the cookies we use are so-called "session cookies." They are automatically deleted after your visit. Other cookies remain in your device's memory until you delete them. These cookies make it possible to recognize your browser when you next visit the site.
You can configure your browser to inform you about the use of cookies so that you can decide on a case-by-case basis whether to accept or reject a cookie. Alternatively, your browser can be configured to automatically accept cookies under certain conditions or to always reject them, or to automatically delete cookies when closing your browser. Disabling cookies may limit the functionality of this website.
Cookies which are necessary to allow electronic communications or to provide certain functions you wish to use (such as the shopping cart) are stored pursuant to Art. 6 paragraph 1, letter f of DSGVO. The website operator has a legitimate interest in the storage of cookies to ensure an optimized service provided free of technical errors. If other cookies (such as those used to analyze your surfing behavior) are also stored, they will be treated separately in this privacy policy.
Server log files
The website provider automatically collects and stores information that your browser automatically transmits to us in "server log files". These are:
- Browser type and browser version
- Operating system used
- Referrer URL
- Host name of the accessing computer
- Time of the server request
- IP address
These data will not be combined with data from other sources.
The basis for data processing is Art. 6 (1) (b) DSGVO, which allows the processing of data to fulfill a contract or for measures preliminary to a contract.
4. Plugins and tools
YouTube
Our website uses plugins from YouTube, which is operated by Google. The operator of the pages is YouTube LLC, 901 Cherry Ave., San Bruno, CA 94066, USA.
If you visit one of our pages featuring a YouTube plugin, a connection to the YouTube servers is established. Here the YouTube server is informed about which of our pages you have visited.
If you're logged in to your YouTube account, YouTube allows you to associate your browsing behavior directly with your personal profile. You can prevent this by logging out of your YouTube account.
YouTube is used to help make our website appealing. This constitutes a justified interest pursuant to Art. 6 (1) (f) DSGVO.
Further information about handling user data, can be found in the data protection declaration of YouTube under https://www.google.de/intl/de/policies/privacy.