After finishing their musical studies in the Conservatory of Music dependent from Barcelona’s Opera House, the Gran Teatre del Liceu, both pianists born in Barcelona in 1972 and 1973 who have been teachers in the same Conservatory for more than 4 years now, set off for New York to work alongside great pianists and teachers such as Herbert Stessin, John Bloomfield, Peter Basquin, Julie Jordan, among others. They paid very frequent visits to that city between 1999 and 2002, a period when many letters of recommendation were written in their support, praising them for their great potential and their musical intelligence.
The current Tena Manrique Piano Duet stems from their determination to unearth a repertoire that is virtually unknown to the great public. Their artistic path started in the Aragonese region, and since its debut in 2006 they have performed in places like Barcelona, Zaragoza, Huesca, Teruel, Logroño, Toledo, Fraga, Ejea de los Caballeros, etc.
Duet member Abraham Tena Manrique also embraced composition, having published 2 volumes of his works (Beethoven Publicacions, 2013). One of the volumes consists of pieces for piano solo and the other of compositions for piano four-hands. Many of these works have been performed in several concerts over the last years, receiving critical praise for the excellence of their composition.
Their duet repertoire usually includes these pieces, which in a way can be considered a sort of personal diary kept by the composer.
“On last August 3rd we had the pleasure of witnessing a remarkable concert by brother and sister Abraham and Esther Tena Manrique"
- Diario del Altoaragón
“A piece composed by Abraham, one of the performers, was also noteworthy, romantic in style and very well executed.”
“The performers offered a very precise execution and were able to move the audience with a repertoire of impressive contrasts and a lavish variety of nuances. There was a great turnout and the attendants were delighted with the programme.”
- Diario del Altoaragón
“...good performers that knew how to make the best of both the instrument and the venue’s acoustics.”
“Probably the most interesting part of the concert came at the very end, with the premiere of Fantasy for Piano n. 1 in C minor by Abraham Tena Manrique, composer and performer of a very full-bodied work, with a style reminiscent of Chopin and other Romantic and Post-Romantic composers.”
“Both performers delved into the musical essence of several historical periods, eliciting feelings of delight from the audience.”
- Heraldo de Aragón