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In this lunchtime recital Duo Diesis are exploring the use of rhythms, especially rhythmic groove and polyrhythms, of different periods in classical music for 4-hands piano.
Each composer uses repetitive motifs (grooves) to keep the piece perpetually moving in the bass/second part especially. In the Mendelssohn it's his ascending bass line from the beginning that keeps returning. Stravinsky and Carl Vine use polyrhythms between and within the repetitive nature of their pieces which adds further fascination. ProgrammeCarl Vine
Sonata for Piano Four Hands Igor Stravinsky Petrushka for Piano Four Hands Felix Mendelssohn Allegro Brillante, Op.92 |
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Duo Diesis # |
Founded officially in May 2025, Duo Diesis # is the collaboration of pianists Sarah Chung and Pietro Vinciguerra, a dynamic ensemble devoted to the rich repertoire for piano four-hands and two pianos. Though newly established, the duo builds on a strong artistic lineage: both Sarah and Pietro studied with distinguished pianists Charles Owen and Katya Apekisheva, one of today’s leading piano duos, and bring this tradition forward with their own distinctive voice.
The two pianists balance their partnership with active solo and chamber careers across Europe, with upcoming engagements in Ireland, Denmark, Italy etc. Duo Diesis # is driven by a shared curiosity for storytelling through sound, uniting technical brilliance with a commitment to explore both the intimate and symphonic dimensions of piano duo playing.
The two pianists balance their partnership with active solo and chamber careers across Europe, with upcoming engagements in Ireland, Denmark, Italy etc. Duo Diesis # is driven by a shared curiosity for storytelling through sound, uniting technical brilliance with a commitment to explore both the intimate and symphonic dimensions of piano duo playing.
Pietro Vinciguerra
Italian pianist Pietro Vinciguerra graduated with honours from the Guildhall School of Music and Drama in London, where he studied with Katya Apekisheva and Ronan O’Hora. Alongside piano, his studies included composition, fortepiano, harpsichord, and conducting, reflecting his wide-ranging musical interests.
He is a prizewinner at numerous international competitions, including the Ischia and Città di Caserta competitions, and was awarded first prizes at the Guildhall’s Romantic Piano Prize and the St. James Chamber Music Prize in 2021. His performing career has taken him to stages such as the Centro Cultural de Belém in Lisbon, Milton Court and Conway Hall in London, the Royal Irish Academy of Music in Dublin, and historical venues in Naples, Wells, and Cambridge.
Equally at home as a soloist, chamber musician, conductor, and performer on period instruments, Pietro brings to Duo Diesis # a versatile artistry rooted in both tradition and exploration.
He is a prizewinner at numerous international competitions, including the Ischia and Città di Caserta competitions, and was awarded first prizes at the Guildhall’s Romantic Piano Prize and the St. James Chamber Music Prize in 2021. His performing career has taken him to stages such as the Centro Cultural de Belém in Lisbon, Milton Court and Conway Hall in London, the Royal Irish Academy of Music in Dublin, and historical venues in Naples, Wells, and Cambridge.
Equally at home as a soloist, chamber musician, conductor, and performer on period instruments, Pietro brings to Duo Diesis # a versatile artistry rooted in both tradition and exploration.
Sarah Chung
British-Canadian pianist Sarah Chung has completed her Master’s degree in Piano Performance at the Royal Danish Academy of Music in Copenhagen, studying with Jens Elvekjaer and chamber music with Marianna Shirinyan. She previously earned her First-Class Honours Bachelor’s degree at the Guildhall School of Music and Drama, where she studied with Charles Owen.
Sarah’s international career has already taken her to concert platforms across Europe, including performances at Debussy’s house in Paris, the Liszt Academy in Budapest, Roskilde and Vejby Churches in Denmark, Villa Margarita Music Fest in Spain, and in Bartok’s house in Budapest. Her artistry has been shaped by masterclasses with musicians such as Dominique Morel, Valeria Szervansky, Péter Nagy, and Katya Apekisheva, as well as close work with contemporary composers including Charlotte Bray, Graham Fitkin, and Régis Campo.
Sarah has been exposed to contemporary music from a young age giving her the experience of working with living composers and playing music with an eclectic range of extended techniques. She has also experimented herself with creating music through improvisation and composition alongside composers such as Charlotte Bray, Chloe Francis and Regis Campo to help guide her. One of the composers she remembers most vividly learning about is Kurtag and playing lots of pieces from his játékok books, one of which requires you to shout. Playing Kurtag’s music also came with learning about his pedagogical methods which Sarah still uses in her practising today.
Sarah’s international career has already taken her to concert platforms across Europe, including performances at Debussy’s house in Paris, the Liszt Academy in Budapest, Roskilde and Vejby Churches in Denmark, Villa Margarita Music Fest in Spain, and in Bartok’s house in Budapest. Her artistry has been shaped by masterclasses with musicians such as Dominique Morel, Valeria Szervansky, Péter Nagy, and Katya Apekisheva, as well as close work with contemporary composers including Charlotte Bray, Graham Fitkin, and Régis Campo.
Sarah has been exposed to contemporary music from a young age giving her the experience of working with living composers and playing music with an eclectic range of extended techniques. She has also experimented herself with creating music through improvisation and composition alongside composers such as Charlotte Bray, Chloe Francis and Regis Campo to help guide her. One of the composers she remembers most vividly learning about is Kurtag and playing lots of pieces from his játékok books, one of which requires you to shout. Playing Kurtag’s music also came with learning about his pedagogical methods which Sarah still uses in her practising today.