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Classical duo

Cello and Piano Duo

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About Cello and Piano Duo

Professional experienced cello and piano duo. Our wide repertoire can be tailored specifically for any event without limitations.
Cello and Piano Duo's profile picture
Classical duo
Glasgow
Public liability insurance of £1 million

Hello, we are professional musicians with over 15 years of experience in our instruments. Winners of multiple competitions, with international recognition and hundreds of concerts and events behind our backs. We're looking to deliver nothing but the best musical experience for our audiences, and we will be delighted to offer our services to you. Our performances took place in UK's most prestigious halls, such as Wigmore Hall, Royal Albert Hall, Kings Place, among others. To learn more about us, please find our individual biographies below. Cello Born in 2000, Egor Semenov is a descendant of the Russian Cello school, studying in Nizhniy Novgorod and Moscow. From the age of 6, Egor has been performing with chamber and philharmonic orchestras in Russia's best halls. Throughout the early years in Russia Egor has won more than 20 local, as well as international and countrywide competitions, culminating in a Grand-Prix in “New Heights” – an international all-instrument competition. In light of immense success in Russia, Egor was invited to study in The Purcell School, a specialist music school in London, receiving full fee and boarding scholarship. Here he was taught by Natalia Pavlutskaya (a close friend of Mstislav Rostropovich and Alfred Schnittke). Throughout the Purcell years Egor has performed in the best halls of London, as well as other UK cities. Most notable halls include Royal Festival Hall, Cadogan Hall, Queen Elizabeth Hall, St Martin-in-the-fields, and Wigmore Hall. After Purcell, Egor received a substantial scholarship to study in Royal Birmingham Conservatoire. Egor is a long standing member of the YMSO, performing on a regular basis the heart of Westminster – St John’s Smith Square. . Egor is proud to be one of the musicians at the Talent Unlimited scheme in London. Piano Pianist Nikita Lukinov performed at Wigmore Hall, Kings Place, Barbican. His most recent award is a Grand Prix of the international piano competition “Tokyo Stars 2021” that took place in Japan. Nikita has started his musical education in Voronezh, Russia. Nikita’s first significant success was a Grand-Prix at the 2010 International Shostakovich Piano Competition in Moscow. This led to a debut with a symphonic orchestra was at the age of 11. After studying in Russia Nikita won a full scholarship to continue his education at The Purcell School in London. In 2017 and 2021 Nikita won full scholarships to pursue his Bachelor and Master degrees at the Royal Conservatoire of Scotland. Other Nikita’s recent awards include: 2nd place at the Franz Liszt Center International Piano Competition, Spain 2021; Grand-Prix at the online competition “Music and Stars Award”, UK 2021; In 2020 Nikita Lukinov was appointed as “Emissary of the Muses” of San Antonio, State of Texas.

Musicianship
Genres:
Classical, Russian music, Pop, Jazz, Blues, Modern jazz, 1920s era music, 1930s era music, 1940s era music, 1950s era music, 1960s era music, 1970s era music, 1980s era music, 1990s era music, Baroque, Classical crossover, Contemporary classical, Early music, Film / TV music, Medieval music, Renaissance, Christmas, Traditional church music
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Event types:
Wedding, Wedding proposal, Funeral / Memorial service, Church service, Hotel / Restaurant event, Bar / Club / Venue event, Private event, Corporate event, Charity event, Concert, Recording session, Theatre / Show, Cruise, Birthday party, Christmas party, New Year's Eve, Burns night
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Song list

Chopin
Nocturnes
Valses
Mozart
Bach
Suites
Seasons
Mendelssohn
Concertos
Duos
Romance
Mazurkas
Preludes
Elegy
Etude-Tableaux
Sentimental Valse
Rachmaninoff
Schuman
Beethoven
Tchaikovsky
John Coltrane
Customer questions

Do you have different line-up options?

We offer both solo and duo cello and piano with a wide variety of reperotire.

What if my timings change after I've booked you?

We always try our best to be flexible to help ensure your event runs as smoothly as possible. If timings change slightly in the run up to the event just let us know.

How much time do you need to set up?

To set up we need around 40 minutes - tuning and warming up included.

Can you learn song requests before the event?

Absolutely. We encourage our clients to tell us if there are any particular requests they would enjoy, and will try to accommodate every wish.

Prices

Note: prices may vary based on travel distance. For an exact quote, click “Check availability”.

Standard Prices
Performance durationPrice
Up to 1 hour£320
Up to 2 hours£540
Up to 3 hours£700

Reviews

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Nicholas L, 1 year ago

Fantastic Duo, very professional and beautiful sound! Please come to our events again, would love to hear more of you!

Christopher A

Liszt noted on the sonata’s manuscript that it was completed on February 2, 1853,but he had composed an earlier version by 1849.The Sonata was dedicated to Schumann, in return for Schumann’s dedication of his Fantasie op 17 (published 1839) to Liszt which was his contribution to the monument of Beethoven in Bonn that Liszt had undertaken to organise.A copy of the work arrived at Schumann’s house in May 1854, after he had entered Endenich sanatorium. Schumann’s wife Clara did not perform the Sonata as she found it “merely a blind noise”.The Sonata was published by Breitkopf & Härtel in 1854 and first performed on January 27, 1857 in Berlin by Hans von Bulow – Liszt’s son in law .It was attacked by the noted critic Eduard Hanslick who said “anyone who has heard it and finds it beautiful is beyond help”.Brahms reputedly fell asleep when Liszt performed the work in 1853.However, the Sonata drew enthusiasm from Wagner also Liszt’s son in law,Cosima having left von Bulow for Wagner.He heard it in a private performance by Karl Klindworth on April 5, 1855.It took a long time for the Sonata to become commonplace in concert repertoire, because of its technical difficulty and its status as “new” music. I had heard Nikita a month ago in a memorable recital at that Mecca for great young talent that is St Mary’s Perivale .A Prokofiev that sang with such colour,shape and style.Not even that had prepared me for this extraordinary performance of the Liszt Sonata that he played in his New Artists recital for the Keyboard Trust.I never thought I would ever re live the emotions of hearing Guido Agosti intoning and playing such a masterpiece in his studio in Siena and in Rome.I have heard some memorable performances from above all Curzon with his scrupulous attention to detail ,the sheer grandiose exhilaration of Gilels,the visionary Richter ,the oracle that was Arrau and even Cherkassky whose London performance was praised by Peter Stadlen as the greatest performance since pre war Horowitz.But here today we were with a young man of extreme modesty who had asked me if I thought Leslie Howard might discuss some elements of the sonata with him so he could delve even deeper into a score that Leslie knows better than anyone alive ….or dead!I was overwhelmed by a performance where usually I am looking at my watch as one rhetorical phrase follows another without any regard to the very precise dynamic markings.Usually even more disturbed by a pulse that is continually interrupted to allow showmanship or heart on sleeve emotions.Liszt only writes fff two or three times in the whole sonata at crucial points of arrival as indeed ppp is only rarely used at moments of extreme delicacy or closure.Just in the last few pages we have indications of Presto.Prestissimo,Andante sostenuto,Allegro moderato and Lento assai but there should be a forward pulse that cannot allow for sentimentality.All this was scrupulously noted by Nikita but also with a sense of colour and delicacy that allowed him in some passages to split the left hand from the right for a split second that is the secret of great pianists in their search for the perfect legato on an instrument that only has hammers and strings!I have never been so enthralled as with the final three chords that seemed to disappear into infinity with a sensitivity to sound that was quite extraordinary.The final deep bass note almost inaudible as it had been at the opening.’p’,sotto voce Liszt asks at the opening as Nikita allowed the ominous whispered bass notes to cast their spell .The Allegro energico just growing out of this in such a natural unforced way as these three motives were expounded before they are transformed and elaborated in a way that was to influence Wagner soon after in their search for form, helped by transformation.There was a clarity to Nikita’s playing that was just as I remember from Agosti or Curzon where every detail could be heard so clearly adding to the emotional drive that is in this work from the first to the last note.There were so many memorable things that I could describe from the first Grandioso dissolving so naturally into the dolce con grazia .The forward movement of the cantando espressivo and the absolute clarity of what it led to .The excitement of the fortissimo that follows but with syncopated chords that for once we’re so clear and just added to the excitement without any pianistic distortions.A slight misreading of the marcato after the recitativo had me wondering if it was indeed a misreading or a deliberate choice to miss out the odd two quavers The three chords before the Andante sostenuto were as miraculous as the final three chords I have already spoken about .The Quasi Adagio,that in Richter’s hands lasted a miraculous eternity,were here played with such aristocratic sentiment but with an underlying forward movement that was the absolute hallmark that I remember of Agosti’s playing.The great throbbing chords in which passions are aroused was a miracle of control and brought us so emotionally to a climax which Liszt does infact mark fff.The allegro energico fugato was played with such refined dynamics that made the build up ever more exciting as more crescendo is asked for as we arrive at the recapitulation of the sonata form that Liszt still uses as a base.It was here that Gilels was unforgettable in his grandiose explosion of sound.Nikita may not have the personality yet of the great virtuosi but he does have something extra special which is the ability to look at the score with an intelligence and freshness away from tradition.With a fearless technical mastery that seems to know no difficulties one is reminded of Serkin’s comment on meeting the young Murray Perahia.’You told me he was good.But you did not tell me HOW good! Aleksandr Scriabin wrote his Valse for solo piano Op. 38, in 1903, which was a particularly fruitful year in his production and it was published a year later.It is easy to see why Alexander Scriabin was known as “the Russian Chopin” as he wrote almost exclusively for the piano and began his career by composing mazurkas, waltzes, nocturnes, preludes and études. In this Valse we catch the composer near the end of his early Chopin period, before he started writing chords in 4ths rather than 3rds.It is a memory of a distant past and a magic box of sounds opening slowly, the intensifying, blinding light emitting from inside sets the universe ablaze just to vanish again at the end, leaving but a delicate taste.There is a feminine coyness and delicacy in many passages, with achingly nostalgic chromatic harmonies alternating with a more red-blooded and masculine ‘grand style’ of piano-playing that exploits the full range of the keyboard.This is a waltz that has a freedom of perfumed ecstasy with explosive outbursts of passion.A psychedelic waltz that is just a taste of what is yet to come from Scriabin ‘s multicoloured palette .Such sumptuous sounds in Nikita’s hands but what passion both restrained and fearless with a wonderful sense of improvised freedom.A jeux perlé of a different era,that of the greatest pianists who could astonish not with speed and volume but with their ravishing colours and seeming natural pianistic ease .Cherkassky or Moiseiwitch come to mind.