News
Sur.es - Manuel del Campo
Brothers Victor and Luis del Valle are, apart from their solo performances, a duo of high quality both at four hand piano and two pianos.
They do not reject any kind of music, from the eighteenth century to the present, and as an example of this contemporary music, they appeared two nights ago in the eighth day of 15th Contemporary Music Season in Malaga.
Absolute insight, humor, vitality and firmness in their performance... Highly acclaimed by the public, who surrendered to the expertise of these young men from Vélez. A beautiful and popular Gerhswin work closed the day.
Elcolombiano.com - R.V.Bustamante
Fortnight with seven major auditions, but the most outstanding for its high quality was the four hand piano duo recital by the del Valle brothers on 14th November. Two pianist brothers, Victor and Luis del Valle, Spanish, 26 and 23. A highly cohesive team of top piano technique and musicality, with great knowledge of the style of the works in the varied and attractive program. The genius of Mozart (Sonata k.421) was exposed in detail of phrasing and elegance in the nuances, for a version of many carats.
El Adelantado de Segovia - Rafael Aznar
...two brothers from Malaga, the Del Valle brothers. Artists with an impressive curriculum, they are two intelligent young men and true musicians from head to toes.
...a solid technique from which they wink at each other and show complicity only a four-hand piano duo can have; they played -and acted- perfectly together as one. There's no secret between them, they are more than a duo: they are a four handed pianist.
El Sur - Manuel del Campo
Impeccable in their technique, extremely identified with each other and highlighting the exquisiteness and transparency this Concert by Poulenc exhales, not lacking humour either.
Diario de Cádiz - Juan Antonio Castañeda
The del Valle brothers were top class performers in both works, finding in their execution the most exact balance both in sonority and in the ‘dialogue' between parts, not to mention an astonishing technique.
In ‘Ma mere l'oye' they let us listen to a quiet, poetic, misty piano, a style so dear to the French impressionism. The fingers that had attacked the piano keys from above in the previous play to make the percussion resources prevail barely caressed them now, to avoid breaking the spell...
With ‘La Valse' we witnessed the apotheosis of symphonic piano. It seemed impossible that everything that page contained regarding colour, rhythm and dynamics could be captured by these two pianos.