Both works, milestones in the repertoire for two pianos, were composed in wartime at crucial points in the composers' lives.
Debussy's 15-minute work was written in 1915, responding to World War 1 horrors. Messiaen's dates from 1943, after his imprisonment in Germany - a 10-part, profoundly religious meditation lasting 47 minutes.
He wrote it for himself playing the second piano's melodic and expressive elements. The first piano to be played by a teenage pupil provides the required percussion, brilliance and rhythmic development.
The accomplished duo here gives a fiery performance of the Messiaen work, with stormy contrasts and explosive fortissimos. The same approach is given to the Debussy, where I might have expected rather more restraint.
Highlight: Messiaen's anti-war message.
Jaques Louissier and others jazzed them, Walter Carlos electrified them with his Moog.
Bach's celebrated Aria and 30 variations (BWV988 written for the harpsichord in 1741) have since been tackled by various instrumental combinations.
Johann Sebastian should not turn in his grave hearing them unjazzed from solo accordion.
The keyboard instrument can have melancholy tones but Rattya, a Finnish virtuoso, loses much of its cafe atmosphere to nail the music impressively.
There remains a trace of playful lilt between the dazzling, fast-fingered pyrotechnics. Quick variations work best; slower ones tend to be reminiscent of a wheezing old harmonium. Rattya enjoys these performances and "alternative takes" are added to make 40 tracks, all remarkably well recorded.
Opinion: Goldberg given serious squeeze-box glitter!
