It isn’t often that I leave a concert smiling.  Occasionally awe-struck or with a look of horror, but very seldom smiling.  This lovely concert was definitely a welcome exception.

Dr. Ana Maria Trenchi de Bottazzi gave a brief introduction to the impressive audience and the concert began.

Drs. Duehlmeier and Gritton both teach at the University of Utah - Dr. Duehlmeier from Boston University where she studied with Leonard Shure and Dr. Gritton from the University of California, Los Angeles where she studied with Aube Tzerko.  Widely acclaimed as a duo piano team, they have wide experience and accolades from around the world.

In general I would like to praise the rhythmic vitality, virtuosi technical ease and vivid orchestral coloring in every moment of this concert.  The synchronicity of these two artists was remarkable and although Dr. Duehlmeirer’s Steinway had a noticeably larger sound, that is the fault of neither performer but with the choice of instruments available and perhaps the acoustics of Weill Hall—usually perfect for more intimate dynamics.

The “Caprice on airs from Gluck’s Alceste by Saint-Saens and transcribed by Debussy was omitted from the program.  They began with the Saint-Saens Op. 28 Rondo Capriccioso, also transcribed by Debussy.  In this first offering the aforementioned rhythmic vitality and theatrical drama of the music was ever present.  The Dance Macabre, Op. 40 of Saint-Saens, transcribed by the composer, was the descent to hell and back as the program notes promised:  brilliant, descriptive and dripping with drama.

The Three Movements from “Petrouchka” by Stravinsky, transcribed by the composer, deftly outlined the romp of the “Russian Dance”, the anguish of “In Petrouchka’s Room” and the festive and brilliance of “Shrovetide Fair”- all coming to life before our ears.

After a brief intermission the duo played the Jazz Suite for Two Pianos by Henry Wolking, a fellow faculty member at the University of Utah.  This suite was extracted from the jazz double concerto that was written for the duo by the composer and debuted in 1997 with the Warsaw Philharmonic.  The “Jazz Waltz” written in the vein of Bill Evans and “Blues”, inspired by a Charlie Mingus tune, were performed in a manner that evoked a smoky night club filled with beautiful women with sparkling cigarette holds.  The “Caprice” for Dave Brubeck and the haunting “Ballade” paying respect to Bill Evans, were sensitively and orchestral performed.  The final “Tangoragrondo” with strong hints of Fats Waller and an Errol Garner style was a brilliant performance and a fitting close to this fascinating contemporary composition.

How could one not be thoroughly warmed by the Fantasy on George Gershwin’s Porgy and Bess, arranged by Percy Grainger?  Arranged in the grand, nineteenth century virtuosic style of Grainger, we were taken from a heart-rending “My Man’s Gone Now” through the most memorable of the Porgy and Bess songs.  The performances were incomparable and the choice of repertoire for this stunning concert was masterful programming.

The audience, with me right along with them, gave the duo a rousing standing ovation.  I only hope we have the chance to hear Drs. Duehlmeier and Gritton again.