an innate necessity

We receive a hefty number of wonderful emails, both positive and negative, and we thank everyone who takes the time to share their thoughts with us.

I admit, however, to taking offense when our artistic integrity is called into question. Our websites and videos have never been about show-biz, nor are they simply about virtuosity. They were not created as gimmicks or to be clever.

They were born out of an innate necessity.

Our websites, videos, performances, and compositions are an outcome of the spirit and joy inherent in music-making. They are the result of our desire to create real and authentic links with our audiences.

Our videos are not intended to be clever or “rock-style;” they are designed to enhance the meaning of the music performed. The "Pas de deux" video, for example, aims to intensify the intimacy and nostalgia already inherent in the music. Similarly, our video of the New Account of the Blue Danube Waltzes intends to visually dramatize what the music already conveys: as we wrote in our album’s liner notes, “our kaleidoscopic Blue Danube Fantasy takes the elegance of the Viennese waltz as a point of departure and plunges headlong into the passions that undulate beneath the dance's restrained facade.” We created the "Reimagine" trailers to represent, in a few short minutes, the impact and drama of the entire album and to encourage viewers to invest in the full production, just as a movie trailer intends to do.

Our compositions and arrangements are not pianistically challenging merely for the sake of virtuosity. For example, we wrote the hand crossings into our Libertango arrangement to visually communicate an element of danger: the racing heartbeats, the physical friction, and the charged chemistry between a pair of tango dancers. Many of our compositions and arrangements for four-hands are designed to withstand the demands of a 2000-seat concert hall, unlike so many works from the four-hand repertoire more suited for a living room; this also changes the way we approach the compositional process.

We do not select repertoire to be sensational; we select music that speaks to us, music that we love, and music that makes a statement. When asked to replace John Williams as composers for a Juilliard centennial concert, we chose to use the iconic Star Wars music as our source material for a very simple reason: we love the music. We really do. And we found great joy in making this music our own.

Our presence on the Internet is not simply about self-promotion; we maintain a strong presence on the Internet because we feel it is an effective way to share and discuss music with people, especially young people. It is an exceptional tool with the power to galvanize new classical music listeners. The questions and answers on our website, and the polling booth for that matter, are designed to give us an opportunity to communicate directly with our audiences (we hope to relate to our audiences as real people and not some aloof automatons on stage).

Everything we do is a result of our mission:

To connect with others; to engage, provoke, illuminate; to serve as a conduit for the composer’s voice; to authentically express our inner lives; to share the joy and fulfillment that only music can elicit. …to free the world from the constraints of sleep-inducing concerts. …to demonstrate that classical piano music can serve as a relevant and powerful force in society.

All that we do as musicians is geared toward these goals, is inspired by these goals, and is fueled by these goals.

If we were doing it all for gimmickry or attention, we wouldn’t have accomplished nearly as much (in fact, we’d be downright bored), and we’re confident it wouldn’t be nearly as good.

Comparing Butterflies to Parthenon Marbles

I came across a terrific article written by the always-entertaining Harold Schonberg while working on my book the other day. The piece, “Recitalists who Adhere to ‘Tradition’ in Their Programs May Court Disaster,” appeared the New York Times in 1960, and I’ve pasted an excerpt from it below.

      "No artist who ever lived has been master of all styles. Even a genius like Rachmaninoff sounded rather silly on those rare occasions he played Mozart of Debussy. And yet, year after year, march the divisions of hopefuls with programs that encompass a capsule history of music.
      "Thus we get the spectacle of an ardent young violinist, obviously of a temperament that would tear down the hall in Paganini, scraping away at unaccompanied Bach. Or the converse: a young man who would be only too happy to play unaccompanied Bach to the best of his considerable ability along those lines, but who feels it his duty to play Paganini miserably.
      "Why in the name of artistic suicide do these things so often happen? Simply because tradition, that dried-up and unimaginative old spinster, has so decreed.
      "It is high time that artists realized they should program only the things that they feel they can play, not the things they think they should play. If an artist has a romantic temperament, he should avoid Scarlatti or unaccompanied Bach, and confine himself to Chopin, Schumann, Liszt, Brahms. If his allegiance is to the moderns, on with Hindemith, Prokofieff and Schoenberg; out with everything else.
      "But then enters, draped in black, the figure of the wise man. How, he asks in his infinite wisdom, can an artist be judged until he plays Mozart and Beethoven? THEY are the ultimate test, and not until then can the artist be given a pass to the pantheon. So says the wise man.
      "But this argument, though it has been parroted for years, is nonsense, and dangerous non-sense at that. Is it not good enough that an artist does a particular segment of the repertory with flair? Is not a fine Ravel interpretation preferable to a second-rate Beethoven one? Should not an artist be given credit for what he can do, rather than insults for what he does not even attempt to do? What smug superiority it is to set up standards by which a butterfly must be compared to an Elgin marble!"

reimagination, obsession

The time has come: our debut album "Reimagine" is finally here! We are proud to unveil Trailer #1:



Being immersed in the CD release process has prompted me to think about what drives Greg and me as performers and creators. The other day I was reading The New York Times and I came across this article on Keira Knightley. Something she was quoted as saying struck a chord with me:

“ 'Sorry,' she said. 'But if you’re going to be part of this business, I think you have to be a little bit like this. You have to be a bit obsessed.'”

In my opinion, her comment totally applies to a life in music (or in any of the arts) as well: if you're going to be a musician, you have to be a bit obsessed. Though I generally believe in balance and moderation, there is no denying that the creative process has this unique, ineluctable power to overcome, enthrall and consume me. And this always happens when Greg and I work together.

For instance, last night we stayed up until the wee hours of the morning finishing up the trailer video. As I took care of various CD release matters I couldn't stop glancing over at Greg's computer and laughing gleefully at the creation emerging before our eyes. While marveling at Greg's brilliant movie-making skills, I continuously offered my own two cents (which probably annoyed him!). And when we looked at the clock and noticed that it was the hour when most decent citizens of the world start their day, we were too wired to care; time really does fly when you're having fun!

So yes, we're obsessed with music and with bringing our artistic ideas to life, but really, we're just like two kids who are having such a great time playing that time and worries and limitations just fade into oblivion. EJR

P.S. Greg really does want to write to all of you, but since he's been busy with the videos and other pieces of business, I have been the resident blogger of late. We both hope you enjoy our new album—buy it now at CD Baby!

mmmm, swans (only my sisters will get this...)

Hi, everyone! In anticipation of our Jan. 15 album release, we have posted a new video for you to watch. Behold "The Swan":



As you can see, this differs from most of our other YouTube creations in that it's a pretty straightforward, performance-based video (and we're finally on two dovetailed pianos!). We taped it in August around midnight after one of our "Reimagine" recording sessions. The stage manager at SUNY Purchase, Val Franco, offered to take the camera for a few moving shots, and we took care of the other camera angles, setting up the camcorder at various spots in the recital hall. Another unique quality about this video is that it's dreamier in mood (to match the music's shimmering lyricism). Plus, this video is here to whet your appetite as this piece is included on our CD, so enjoy!

(Just so you know, we've got some more special treats for you coming up, so brace yourselves!) -Liz

new year, new album

Happy New Year! We wish all of you a wonderful year ahead. 2008 has begun with lots of momentum; things are definitely in full swing. Greg and I each have a great deal on our plates, individually and collectively, but as always we welcome these challenges and opportunities with open arms.

Our main priority at this time is the launch of our debut album "Reimagine" -- the official release date is set for January 15, at which point the album will be available for purchase and/or download on CD Baby, Amazon, and iTunes. For an extensive preview of "Reimagine," check out our website: you'll find a Top 10 list, extended program notes, audio clips, and more. For the full 3-D experience, be sure to purchase a hard copy of the CD; in addition to having your hands on the deluxe, beautifully-designed packaging (featuring photos from our spontaneous adventure in the mountains last summer!), you'll also get a bonus DVD containing our infamous YouTube videos.

On a more personal note, we want to dedicate this album to you, our fans. Your energetic support uplifts us each and every day, and we resolve to keep surprising you in the new year!

Cheers to happiness, health and peace in 2008! -Liz

Star Wars revisited

Wow, nearly a month has gone by since my last blog entry—time flies! While things have been relatively quiet on the duo front, Greg and I want you to know that exciting things are on the horizon, most notably our debut album (which is due to be released in January). In the meantime, check out the latest videos we've posted on YouTube (or watch them below). In these videos you will see Greg and I performing two movements of our Star Wars Fantasy: Four Impressions for Two Pianos. Both performances were taped live in concert.

This performance of "Impression 1" was an encore at Greg's master's degree recital at The Juilliard School in April 2006. Impression 1 is an Art Tatum-esque rag based on the iconic Cantina theme from the original Star Wars film, otherwise known as Episode IV. It is fiendishly difficult (note the constant jumps in the bass and the skittering passagework all over the keyboard) but its spirit is carefree and playful. Fragments of other musical motives are embedded in the texture: if you're astute enough you may notice the Force Theme, Darth Vader's theme, Yoda's theme, and various excerpts of the battle music.



This performance of "Impression 2" was recorded at my master's recital at Juilliard, just a few days after Greg's recital. This movement, in contrast to the first movement, is fluid and free. It is centered on the ubiquitous Force theme.



While composing this work, Greg and I intentionally avoided a direct "translation" of John Williams's score. Instead, we focused on the music's character, atmosphere, and irresistible appeal. I recall watching all six films in succession during spring break that year, stuffing ourselves with pizza and Chinese food. Greg and I marveled over virtuosic light saber duels, argued over the coolness of Luke Skywalker and Hans Solo (Greg prefers Luke whereas I'm a Solo woman, probably because I've always loved the romantic tension between him and Leia, one of my favorite cinematic heroines!), and—of course—we noted which themes excited and moved us. This process of watching the entire series and listening to all the soundtracks was not only a tremendous source of enjoyment and satisfaction (believe me, the arc is really impressive when you take in all the episodes consecutively in two sittings!); it ultimately provided us with a global view of the saga. As we transfered our ideas to paper, we sought to capture the films' epic scope, mythic resonance, and undeniable sense of fun. We hope these pieces—and performances—relay fresh and piquant impressions of the Star Wars universe. Enjoy!

P.S. In light of the recent Thanksgiving holiday, I just want to tell you how grateful Greg and I are to have such devoted and enthusiastic fans. You're the best! -Liz

recording madness

Hello, readers—I'm back from my blogging break (which elapsed not out of neglect, just sheer busyness!). I hope you're all having a snazzy autumn thus far. I love the vibrant colors and melancholic mood of the fall season, but not the shortening of daylight!

Despite our separate commitments this fall (Greg with his doctoral courses/dissertation work/composing, me with my solo recitals/Ensemble ACJW concerts/teaching), Greg and I have been consistently and painstakingly working on our forthcoming album. Greg and I are going indie-style with this whole recording thing. It's great to have nearly complete autonomy over all elements of the production (the repertoire, editing, design, etc.), but it's also a time-consuming, creatively-challenging process. In any case, it's really fitting that Greg and I are going the independent route with our "debut" CD because we're free-spirited individualists at heart, and we've always been fully involved in all aspects of our professional output, whether it be the website, YouTube videos, programming, or compositions. This recording has given us the opportunity to take artistic chances, and we've had a lot of fun (well, stress-laced fun!) along the way: spending hours on end with our fabulous recording engineer Joe Patrych in his Bronx studio; writing about what this music means to us (while trying to stay within a word limit—a nightmare for me!); filtering through photo after photo of us atop a mountain; sharing design concepts; either being impressed, dismayed, or surprised at what we sound like on record!

The recording process is a highly collaborative one, and it is our hope that this album embodies the nexus of our ideas and ideals, our imaginings and efforts, our intensity and joy. EJR

Photos from "Tuxedos by Steinway & Vodka by Chopin"

Sorry these pictures took so long to upload! It didn't help that I left my camera at Liz's apartment for the past few weeks.

Recently, we were asked by Steinway to perform release event for members of the press and media, celebrating the company's new line of concert clothes for men. (Read about our experience in an earlier post.) Unfortunately, the pictures taken with my camera didn't turn out so well (and we haven't yet seen the pictures taken by the Steinway photographer), so we'll just have to make due with what we have.

Exhibit A:
Here I am informing the audience of something very important. (Note: Liz's dress ... oh yes, and also notice the mannequin standing at our right, wearing a very fine Steinway tuxedo.)


Exhibit B:
Now Liz is informing the audience of something terribly important.


Exhibit C:
The Anderson & Roe Piano Duo with the director of the event, the wonderful and enthusiastic Elliot Rittenband.


Exhibit D:
An autograph to Greg & Liz by the emcee of the event, Howard Cross's (#87 of the New York Giants). We apologize to Mr. Cross for forgetting his name in our earlier post!

(#3 of 3) Imagine: You're outside and the moon is out

After reading Liz's thorough blog recollecting all the humorous incidents from our last video shoot (see the video posted below), I'm not sure what I could add, but I'll give it a shot.

I'm proud of Liz. She purchased a "Hello Kitty" lunch box, pretty pink bows, and the tackiest dress you-ever-did-see with admirable courage, but she deserves an apology from me. Liz, I'm sorry I didn't help. I'm sorry I stood five feet from the cash register, pointed my finger and laughed hysterically.

Of course, Liz found herself in even more compromising situations. She spent a good 20 minutes dashing about the New Haven train station while flailing her arms and shouting, "Seriously, this is not a chain letter! It really works!" "Seriously" people, does it really work? Have any of you actually seen your crush's name appear on the screen after pasting the message into three comments?

One of my favorite scenes was the one in which Liz sat at a piano and sweetly instructed Rubinstein to put more feeling in his fingers. There was something about being there in the same room that nearly made me wet my pants. Finding myself completely unable to withhold my laughter, I silently began to pant and wheeze my way into the back room. (I didn't want to disturb her concentration or ruin the shoot!) Unfortunately, en route, Liz started to demonstrate what it meant to "play with one's fingers," playing the Moonlight sonata as if she had never seen a piano before. It was the final straw; I completely exploded. This is only one of several such examples.

A rather embarrassing situation of my own: portraying a split personality (an extremely flamboyant homosexual and a curse-laden scumbucket) in front of streams of passersby. Thankfully, we were in New York City, and very few people seemed to notice anything out of the ordinary.

Alas! The things we do for our art.

I’m going to go tend to my battle wounds - that bench in Riverside park really left a scar!