I liked everything about this CD. First of all, the repertoire. Its not all stereotypical latinAmerican music. There is a nice, wide variety, with good differences in style, approach and sound. Anne Louise and Edward work very well together, with good ensemble playing, and fine feel for the rhythms and colors of latin America, as well as the expression. The recording is full and rich, capturing the two pianos nicely, especially the rich bass registers. Five out of five stars
Rick Phillips, on the CBC Radio Program "Sound Advice"
The artistry and ability of this young husbandandwife team were evident from the first sounds to the last in this delightful recital.
—Rockford Register Star
Sonority at its finest
The piano duet team of Edward and Anne LouiseTurgeon dashed exuberantly through Mendelssohns Allegro Brillant and seemed to enjoy it as much as the audience did.
—New York Post
Marvelously executed by the Duo Turgeon, it (Two Pianos, by Timothy Sullivan) incorporates shimmering minimalism but with ever changing moods. At times the music floats in a dreamy suspension, at others it is jazzy and dancelike.
"Who says there are no great piano duos in North America" Vronsky and Babin, as well as Nemenoff and Luboschutz have their successors with four or five world class piano duos, among which include Anne Louise and Edward Turgeon. Though this Canadian couple formed a duo in 1988, they continued to do solo appearances throughout the 1990’s, prior to opting, definitively we would like to hope, for this august formation, so delicate in every sense of the word. It demands, in addition, a good amount of discipline as well as professionalism, not usually the result of accidental encounters. Fragile also, since rare are the duos that endure for the life of a career, even with husbandandwife duos. Intimacy and complicity are constantly meeting with confrontation and argument. When this mixture of fire and water attains an equilibrium in a constructive manner, we see a true artistic entity around a new instrument emanating from a common womb the two pianos.
Obviously it is on this path that the Turgeon duo blossoms. Despite a Herculean program, well balanced with its alternating grand repertoire and contemporary music, this Canadian duo has demonstrated solid technique, a sense of nuances and contrasts and, even more importantly, an architecturally constructed approach. Their Scaramouche was a little jewel played with exquisite humor, appropriate theatricality, and in the last movement, a samba rhythm which few duos can render in such a free and dancing fashion.
While their styles are distinct, the works of Alexina Louie and John Corigliano shared a sound world reminiscent of Messiaen and Debussy. Impressionistic sonorities clearly illustrated this relation. In Afterimages, the songs of birds and bells appeared to swirl in the evening air. A reflection on the interval of a fifth preceded a quote from Chopins Fantaisie Impromptu, Opus 66. In Chiaroscuro, the ear must accustom itself to responses between pianos tuned a quartertone apart. Highly virtuoso in its series of scales, arpeggios and chords, this piece takes on the appearance of a game of musical chairs when one pianist gets up to join the other for a section of fourhand playing on one piano. After a full execution of the melody (in tune), blended with a Bach chorale, the other pianist leaves the common bench to commandeer the detuned piano.The piece de resistance of the recital was Johannes Brahms Fourth Symphony in E minor, Op. 98,
in a composer arrangement discovered by the Stenzl piano duo in 1997. Anne and Edward Turgeon accomplished a true tourdeforce by giving much creative force during all four movements. Even though some sections are slightly different when compared with the orchestral version, a convincing interpretation quickly dispelled any desire to pursue a game of comparison.
The Turgeons have found their own vision, while maintaining a wealth of quasiorchestral tones. As with the Sonata for two pianos, Op. 34, it appears that Brahms has succeeded with this combination, avoiding the trap of overly thick textures. The Duo Turgeon has thus demonstrated that far from being a bit of drawing room fancy, the two piano version unearths a composition of wonderful clarity, never compromising in matters of harmonic richness and dramatic substance.
—Article title: Duo Turgeon — on the Path of the Greats, by Stephane Villemin, in La Scena Musicale.
Subtle tugs on the invisible elastic that connects this duo created a seductive dance that left me panting. Tightly cohesive, their dramatic interpretations evoked duels, cooperation, negotiations, and perhaps even threats. This battle of equals stood apart from nearly all the other ensembles" (in reference to various ensembles performing in the 2010 San Francisco International Chamber Music Festival)
—San Francisco Classical Voice