Rhapsodie LWV 12
En 1994, Lühl commence à écrire sa première œuvre pour piano et orchestre : une rhapsodie, qui n’a de "rhapsodique " que le titre, car sa construction est entièrement dédiée à la forme sonate et pourrait tout-à-fait s’affirmer comme premier mouvement d’un concerto. Peu après, conforme à l’idée de ces prédécesseurs, Lühl ressent le besoin pratique de rédiger une version pour deux pianos (présentée ici sous le numéro d’opus 21), de manière à mieux faire connaître l’œuvre et à en assurer une diffusion plus large.

Rhapsody LWV 12
In 1994, Lühl starts writing his first piece for piano and orchestra: a rhapsody, in which the only “rhapsodic” element is limited to the freely chosen title, because its structure is everything but improvised and relies upon a strict sonata construction, which could be very well seen as a first movement of a concerto. Shortly afterwards, respecting the goal of his predecessors, he adapts the piece in a two-piano-version (LWV 21), in order to promote the piece more quickly than just relying on a performance requiring a full-scale orchestra.

Piano concerto #1 in f minor LWV 52 (110)
No trace of written evidence could be found regarding the composition process of Lühl’s first piano concerto. The composer always remains discreet as far as his way of writing is concerned. However, a few hints were given through the score itself. The artist doesn’t necessarily start with the first movement and finishes with the Finale. Just like Rachmaninov, who in 1900 had composed the two last movements of his 2nd concerto prior to the opening movement, he did the same in his work and actually started with the second movement (November 18-24, 1998). The movement would have been originally composed as a single piece for a composition contest. The composer did not expect to win any prize by composing especially for this occasion, so he decided to enhance the work by adding two movements to the original one. Thus, between August 15th-22nd he composed the first movement and from December 14th-19th of the same year he finished the Finale.
Lühl has written very little upon request, and like Chopin or Rachmaninov, he has always tried to follow his instincts and ignored any and all ephemeral tendencies. His quest for unity in his entire work has been the leitmotif of his artistic quest. The enclosed version for two pianos (LWV 110 in his composition catalogue) features a few enhancements for the solo part and occasionally inserts a few voices of the orchestral part to make it sound more complete.
On the manuscript, Lühl had already written Klavierkonzert Nr. 1, suggesting that others would eventually follow.

Rondo LWV 94
This piece shows Lühl’s remarkable mastery of the musical language. The two instruments create a continuous dialogue and intermingle constantly in a very complex way upon a theme which is originally rather easy to remember.

Concert study LWV 145
This wild piece was originally written for piano solo, but, victim of its own success among the audience, Lühl felt the need to adapt the work for other ensembles such as the two piano version, for piano quartet (POL 550 283) or even for large orchestra, conceived as an encore.

« Akademische Ouvertüre & Fugue » LWV 182
Working for the recording of his entire works, Lühl decided to move on with his project for two pianos and, led by the idea of producing a 2-CD set, he started to write an academic fugue, preceded by a so-called “ouverture à la française” featuring a very specific rhythm. Just like the Rondo, these two pieces were genuinely written for two pianos in the first place.

Variations on a theme by H. Purcell LWV 184
Still led by the thrilling idea of having his work for two pianos recorded, Lühl adapted one of his pieces for piano solo (LWV 155), the Variations on a theme by Henry Purcell for two pianos, and at the same time, since this piece required more than only one or two instruments, he took the liberty of writing a version for large orchestra to be performed on a later date.

Piano concerto #2 in b flat minor LWV 134 (135)
Much more complex than the first concerto, it is the author’s favorite work. The first and last movements are actually orchestrations of two of his nine piano sonatas. The slow movement, however, is an original piece written for this genuine nomenclatura. Lühl’s next opus number (135) became subsequently the enclosed two-piano-version of the concerto.

Piano concerto #3 in e minor LWV 188 (199)
Lühl’s last piece to date is this present two-piano version (LWV 199) of his 3rd (and last?) piano concerto. Here again, the four movement suite has a composite history. The first and third movements are genuine compositions for piano and orchestra, whereas the Finale is another orchestration of one of his piano sonatas. The second movement instead is a mere transposition of one of his preludes LWV 89. Thus, during the unfolding of the musical events, he switches parts between the almighty soloist in the two first movements and the much more dominant orchestral part in the Finale.

Kalmateria LWV 263
In 2016, Lühl finishes his Tenth symphony and managed to go further than many composers who died before they could finish this mythical work : Schubert, Beethoven, Bruckner, Dvorak and Mahler - too many famous celebrities to be juste a coincidence. With this present recording in mind, he adapted the second movement of his 55 minute work for two pianos and gave his new Poem for two pianos an autonomous title and betwen May 5 and 8th, 2016, he gave birth to an individual melancholic piece for two pianos.
 

Mahery Andrianaivoravelona, s'est produit pour la première fois avec orchestre à l'âge de 13 ans en interprétant le 9ème Concerto K271 Jeune Homme de Mozart. En 1991, il entre au Conservatoire National Supérieur de Musique de Paris dans la classe de piano de Michel Béroff et suit parallèlement des cours de musique de chambre. Il obtient quatre ans plus tard le Diplôme de Formation Supérieure, ainsi que diverses récompenses en histoire du jazz, en acoustique, en déchiffrage et en analyse. Il remporte ensuite divers Premiers Prix de Concours Nationaux et Internationaux tels que ceux du Royaume de la Musique, du Concours Claude Kahn ou encore du Concours de Saint-Nom La Bretèche et est depuis invité à se produire en récital en France, en Allemagne, en Italie, en Tunisie, à La Réunion, à Madagascar.

Mahery Andrianaivoravelona first performed as a pianist with orchestra at the age of thirteen when he played Mozart’s 9th concerto K271. In 1991 he began his studies at the Paris Conservatoire National Supérieur de Musique et de Danse (CNSMDP) with Michel Béroff and at the same time followed courses in chamber music. Four years later he received his diploma as well as many awards in history of jazz, acoustics and musical theory. After that he won various first prizes nationally and internationally such as the Royaume de la musique, the Claude Kahn competition and the international Saint-nom-la-Bretèche competition. He has also performed in France, Germany and Italy, Tunisia, La Réunion and lately in Madagascar for festivals and special events. Since 2004 he performs in duo with the pianist and composer Enguerrand-Friedrich Lühl. The latter arranges for piano solo and two pianos music from films and the American composer John Williams. Also with Lühl he has participated over the years in a series of recordings of rare Rachmaninoff pieces for two pianos for the Polymnie label. In parallel to his activity as a concert pianist he organises special music workshops for master classes, concerts and juries in Madagascar.

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