La Belle Epoque, January 2010,

"Karen Lechner her brother Sergio Tiempo combine successful solo careers with their appearances together – and a formidable duo they are too. Sibling telepathy coupled with playing together since they were old enough to sit on a piano bench have their benefits, one of which is this CD, without doubt one of the most electrifying recordings of four-hand piano music I have ever heard. Any scepticism will be dispelled after the opening bars of ‘Vif’, the first movement of Scaramouche. How alive they are to every nuance, precision-drilled yet elegant and spontaneous, with that essential prerequisite of making a studio performance sound as though it were being played in front of a live audience.

The resourceful arrangement of Ravel’s Daphnis and Chloe Suite No.2 for two pianos, made by Ravel’s life-long friend Lucien Garban (1877-1959), was performed by Lechner and Tiempo at the 2007 Lugano Festival and was one of the highlights of EMI’s 3-disc set but Avanti’s recorded sound makes this version preferable. Fauré’s Dolly is invested with a subtly expressive detail that makes you listen with fresh ears to this well-worn favourite, while the performance of Fêtes (Ravel turned arranger) supersedes the venerable 1935 recording by Rosina and Josef Lhévinne – and that is saying something. La Valse is a thrilling tour de force.

Accompanying the CD is a DVD with a documentary on Lechner and Tiempo and a second feature in which the duo talk about the music. The whole package is classily and thoughtfully presented by this Belgian label and is a credit to all concerned".

Gramophone, January 2010, Jeremy Nicholas.



‘Ecoutez donc ce feu d’artifice du Scaramouche de Milhaud et laissez-vous entrainer dans ce monde des émotions sauvages de la deuxième suite de Daphnis et Chloé de Ravel pour vous reposer ensuite aux couleurs si gaies et si tendres de la Suite Dolly de Gabriel Fauré. La magie opère également dans deux Nocturnes de Debussy : On ne peut que rester admiratif devant le chatoiement des couleurs, la variété inégalée des timbres, l’emploi raffiné des nuances et se faire envouter par une sensibilité à fleur de peau, admirablement servie par les excellents pianistes, tout en maitrise de leurs instruments. L’interprétation (de la Valse de Maurice Ravel) du Duo Lechner Tiempo est prodigieuse : la symbiose parfaite déjà dès le début de ce CD, semble se dépasser pour unir les musiciens plus encore dans un seul élan, un seul langage… La montée de la tension aboutit à un crescendo final phénoménal, laissant l’auditeur totalement abasourdi’

‘Listen to the fireworks from Scaramouche of Milhaud, then immerse yourself in the world of wild emotions of the second Suite of Daphnis and Chloé by Ravel and then relax with the merry and tender colors of Gabriel Fauré's Dolly. The magic also works in two Nocturnes of Debussy: one can only admire the shimmer of the colors, the unequalled variety of timbres, and the refined use of the nuances and then be overwhelmed by the disarming sensitivity that is admirably performed by these excellent pianists who are in total control of their instruments. The interpretation (of Maurice Ravel's La Valse) by the Duo Lechner Tiempo is extraordinary: the perfect symbiosis, already present from the beginning of this CD, seems to go even further: it binds the musicians in only one dash, in only one language… The rise of tension leads to a phenomenal final crescendo, leaving the listener completely flabbergasted’

Pizzicato, September 2009, Remy Frank : Award : Excellentia.



‘Al in de (bekende) muziek van Milhaud en Fauré is zuiders licht, springerig, ongedwongen zoals je ze zelden hoort. De fragmenten uit Daphnis et Chloé klinken dan weer heel volwassen en orkestraal. Adembenemend zijn de bliksemsnelle passages waar broer en zus elkaar perfect volgen… De twee Nocturnes van Debussy geven een voorsmaakje van het spel met timbres dat met twee piano’s veel uitgebreider is dat met één, van mysterieuse ingehouden, bijna zonder merkbare aanzet, tot majestueus door de perfecte verdubbeling van een grote hoeveelheid noten. Dat spel breekt helemaal los in de fantastische –en soms geimproviseerde- Valse van Ravel, die danst, verbaast, doet schrikken, imponeerten ten slotte meesleept in een krankzinnige werveling.’

‘Everything in the famous music of Milhaud and Fauré is light, joyful, and naturally paced as it is seldom heard. Then the pieces from Daphnis et Chloé sound adult and orchestral. The lightening fast passages, where brother and sister follow each other perfectly, are breathtaking. The two Nocturnes of Debussy provide an appetizer of their playing with timbres that are much more developed with two pianos than with one, from mysterious containment, almost without noticeable beginning, to majesty by the perfect doubling of many notes. That playing breaks entirely loose in a fantastic - and sometimes improvised - Valse of Ravel, which dances, astonishes, scares, explodes and finally drags you into a feverish swirl.’

Knack, 4 stars, July 2009, Peter Vandeweerdt



‘Deze musici leveren schitterende kamermuziek af. Hoe sneller en virtuozer de muziek, hoe meer ze zich amuseren(…)Voor wie houdt van flamboyant, een meeslepend pianospel, is deze cd een absolute topper’

‘These musicians deliver superb chamber music. The faster and more virtuosic the music is, the more musicians seem to enjoy it(…) For those who love flamboyant and compelling piano, this CD is an absolute must’.

De Standaard, July 2009, ESE.



‘L’enthousiasme des deux interprètes assure la cohérence d’un programme kaléidoscopique. Energique, clair, vivement contrasté, portés par des tempos biens affirmés : avec de pareilles qualités, on comprend pourquoi le jeu de Karin Lechner et de son frère Sergio Tiempo est apprécié de Martha Argerich. La pétulance de ce style, si elle favorise l’entrain de Fêtes et l’explosion finale de la Valse, n’empêche pas les jeux d’ombres et de lumières (par exemples dans Nuages)… Ils livrent ainsi une Dolly absolument confondante, par sa douceur et sa richesse expressive. La transcription de la Suite N 2 de Daphnis et Chloé offre également de magnifiques moments, grâce à une subtile mise en scène de l’évolution des masses sonores.’

‘The enthusiasm of both musicians gives consistency to a kaleidoscopic programme. The performance is energetic, clear, vividly contrasting and characterised by confident tempi: with such qualities it is clear why Martha Argerich is a fan of Karin Lechner and her brother Sergio Tiempo’s playing. Their exuberant style is particularly fitting for the spirited ‘Fêtes’ and the final explosion of ‘La Valse’, but they are equally at home with the interplay of shade and light (for example in ‘Nuages’). And finally, the two pianists demonstrate as much ease in portraying tenderness as they did in the more brilliant and spirited passages: they give a performance of ‘Dolly’ that is absolutely astounding in its gentleness and rich expressiveness. The transcription of Suite No.2 from ‘Daphnis et Chloé’ has some magnificent moments, thanks to a subtle setting of the growing mass of sound’.

Diapason, October 2009, J. Bastianelli: Award : 5 Diapasons



‘A disc of almost universally superlative playing.

Where do Avanti find their artists? One has to ask for they turn up quite a sensational set of pianists one after the other and these siblings (Karin Lechner and Sergio Tiempo) are no exception. There are only two "genuine" works for a duo here and one of them, Milhaud's brilliant Scaramouche opens proceedings. Quite electrifying playing immediately fills the room as the young players sound, figuratively speaking, as though they are dancing along to the outer movements high spirited music - it must be noted that they are suitably reflective in the central "Modere" movement and altogether this is a wonderful rendition.

Scarcely after one regains composure after the Milhaud, does one of the most outrageous transcriptions this listener has ever heard caress the ear. It is hard to imagine for those who have yet to hear this duo in action but their playing of Ravel's second suite from Daphnis et Chloe leaves little to the orchestral version. A simply ravishing account of Lucien Garban's virtuosic transcription that the Duo Lechner play with considerable finesse.

Central to the programme is Faure's Dolly suite (the only work here for 4 hands, 1 piano) and Duo Lechner are sensitive to the more reflective nature of the music and grant it a clean, simple rendition that merely leaves a smile on the listeners face(…)

Ravel's transcription of his own La Valse and it is given a quite exceptional reading here; many will have heard orchestras produce less colour than the Duo Lechner do here. Reflective where called for, the faster movements are thrillingly dispatched in a white-knuckle ride that has one perched on the edge of one's seat. Fortunately, despite all the many thrills, there are no spills and one merely wishes to have been present when this marvellous rendition was set down.

(…)This is a disc that cries out to be heard and then heard again! Enthusiastically recommended’.

SACD.net, John Broggio, September 2009

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