Paradoxically, the power is no longer in "knowing" but in "letting people know", as each individual is constantly submerged in information of all kinds. We have observed that a certain number of factors contribute to reducing the general perception of the repertoire for two pianos and four hands, which is nevertheless considerable and amounts to tens of thousands of works. The score shops where one hunts for scores are becoming rare, the Internet sales sites highlight the most popular scores, which thus remain the most popular, the best-known artists revolve around the repertoire that is also the most widely distributed... We end up noting that, from the conservatories to the concert halls ro the private salons, one almost always hears the same works for 2 pianos or 4 hands.

When asked "Do you know how many concertos for 2 pianos and orchestra there are?", most answer "2, Mozart and Poulenc, no?

What interest then for a young pianist, amateur or future professional, to study such a limited and overplayed repertoire?

What interest does a presenter have in proposing a concert with two pianos if it is only to hear the same thing over and over again?

And yet, you don't have to scratch very far or very long to realise that the repertoire is, on the contrary, rich, intoxicating, exciting, full of hidden treasures to be shared with a privileged partner: a friend, a relative, a colleague, a sister or a brother...

What is there? Where to find it? How does it sound? What are the learning methods that offer a 4-handed playground?

This is the purpose ofOpen Piano-Piano Database which is intended to become the best friend of all those who like to play in a duo, on one or two pianos.

At present, there are only a handful of identified piano duet classes in the world. However, any experienced duet player will tell you how much playing in a piano duet requires a specific learning process: listening, touch, pedal, breathing, fusion of sounds, one practically has to "re-learn" the piano in order to achieve a coherent whole with one’s partner.

It is after all a familiar experience for string players who wish to play in a quartet, or for wind players who play in a wind quintet.

The string quartet is probably the best example: it does not occur to anyone today to think that one can perform a string quartet in two rehearsals with new partners.

At most, it can create wonderful encounters and a few moments of grace.

It is the same for the piano duet. It takes a long time for the attacks to melt, the breathing to match, the vision to harmonize.

In order to transmit this very particular teaching at a high level, it is best to have practiced the piano duet on stage.

This is why the association created the Piano-Piano Academy, in partnership with the Ecole Normale de Musique de Paris, the Conservatoire National Supérieur de Musique et de Danse de Paris, the Conservatoire à Rayonnement Régional 93 Aubervilliers La Courneuve and Kawai Pianos, in order to offer young duos in France a high level teaching specific to this discipline.

The academy takes place over the course of the school year, with 5 masterclasses, an end-of-academy concert at Salle Cortot, professional workshops and pedagogical support throughout the year.

and the Rungis Piano-Piano Festival is an ideal platform to commission new works.

The association will then work on producing recordings useful for the dissemination of the repertoire.