Two pianists, one instrument and 88 keys came together when Laura Pauna and Rentia Venter presented their One Piano; Four Hands concert at Theatre on the Square on August 28.

The performance formed part of the theatre’s Friday lunchtime concert series and featured works by Franz Schubert and Anton Diabelli.

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For Venter, the performance marked another chapter in a musical partnership that began just over a year ago. She and Pauna studied music together at the University of Pretoria, but only began playing as a duo after reconnecting at a recital following Pauna’s years of performing around the world.

“We reconnected at a recital after Laura spent many years performing all around the world, and it clicked very quickly,” Venter said. Playing together has given the pair an opportunity to create a fuller sound while constantly responding to each other.

“Playing four hands is enormous fun because you’re making this huge sound from one piano, but you’re also having a conversation with another musician the whole time. Laura and I seem to speak the same musical language, which helps when you’re sharing 88 keys and occasionally fighting over the middle of the piano.”

Musical conversation:

Venter described the relationship between the two musicians as highly conversational, with both constantly listening and responding to each other.

“Neither person completely owns the interpretation. You build it together,” she said. That musical conversation also requires plenty of physical coordination. “Four hands, two pianists, three pedals and 88 keys. There is absolutely nowhere to hide,” Venter joked.

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Hands cross, elbows can collide and the pianists have to carefully coordinate their movements around the piano, all while making the choreography appear effortless to an audience. “When it works, though, it feels less like two pianists playing together and more like one rather enormous pianist with four hands,” she said. The repertoire was selected to showcase the contrasting personalities that can emerge from a piano duo.

Schubert’s F minor Fantasie brought emotional depth to the programme, moving between tenderness, drama and intensity. “Schubert’s F minor Fantasie is one of those pieces that seems to contain an entire world,” Venter said. Diabelli, meanwhile, offered a lighter and more theatrical side of the repertoire. “There’s wit and theatre in the music, and you can hear him enjoying what two people can do at one piano,” she said.

Building one interpretation:

Preparing for the concert involved more than simply learning individual parts.

The musicians had to negotiate everything from who carried the melody to where each pianist’s hands should move. “Sometimes Laura has the melody and I have to get out of her way. Sometimes I have it.”

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