The idea of the concerto genre lies in a kind of competition between the orchestra and the solo piano — roughly fifty orchestral musicians versus one pianist. The timbres are different, and their roles are different. Although this is called a “competition,” we do not compare who plays better — the pianist or the orchestra — nor do we root for one to outplay the other.
It is a different situation when two pianists perform together as a duo. Here, the listener immediately begins to compare the sound of the same instrument under the fingers of two performers: their manner of playing, technique, temperament, dynamics — everything that can be compared. Essentially, there are two competitors on stage playing the same instrument.
Martha is 84, Sophie is 34. The young pianist has everything needed to perform demanding repertoire: excellent education, technique, intellect, temperament, and stress resistance. She has German-Italian roots and states that there is complete mutual understanding and shared musical feeling between her and Martha. This is easy to agree with, as Sophie listens attentively, instantly picks up everything Martha proposes, and responds with great professionalism.
But can we really say that the two pianists are equal partners in this duo? Or does Martha, perhaps unconsciously, take the leading role? It is impossible not to notice that their performance manners, sound production, and interpretations are different. Even without watching the stage, one can clearly tell who is playing which part — it is that audible.
I am genuinely happy that Martha continues to perform concerts at her age, playing some of the most challenging piano works. However, it is extremely difficult to share the stage with such a powerful individuality, one capable of overshadowing even the strongest musicians with her brilliant playing — whether an experienced pianist like Stephen Kovacevich or a young, highly gifted pianist at the beginning of her career.