Monthly Archives: February 2014

Greg Anderson and Elizabeth Joy Roe, of piano duo Anderson & Roe, were kind enough to sit down and answer a few questions for us, ahead of their performance on Sunday, March 2, 2014, at the Moss Arts Center.

We didn’t think it was possible to love them any more than we already do–but after reading their answers, it’s official: we’re smitten.

Center for the Arts: A big part of what you do as musicians centers around making classical music a relevant and powerful force, as you’ve mentioned in your biographies. When did you first realize that classical music and the piano were going to play huge roles in your lives?

Greg Anderson: About ten years ago at Juilliard, I remember falling asleep at virtually every concert I attended (Liz can certainly attest to my lion-sized yawns). Something about the music I loved—the classical music that I loved playing and listening to—was making me fall asleep. I’d look around at the audience and performers, and they seemed to be practically bowing their heads in reverential prayer, worshiping these musical works deemed to be great.

While I can respect that attitude, I think it misses the point. This music was composed to change our lives. This music was composed to offer simple joys, or compassion when we’re sad; it was composed to give us a reason to live, to touch our hearts. I asked myself, as classical musicians, do we dissect Mozart’s music in a scientific study and merely comment on its perfection? Or do we approach it as the mirthful and reckless Mozart would while playing with friends?

Basically, it forced me to create some kind of mission statement that would reorient my priorities as I was presenting these awesome works to the public. That mission is to make classical music a relevant and powerful force in society.

Elizabeth Joy Roe: My musical epiphanies and inspirations date back to childhood. Growing up, I was lucky to grow up in an arts-loving family and to be exposed to the excellence of the Chicago Symphony Orchestra and the Ravinia Festival; when I was a young girl, I had the privilege of seeing the great pianist Murray Perahia in recital, and in that moment I knew I wanted to be a concert pianist.

Additionally, rock music has played a crucial role in shaping my musical affinities. I still remember my “discovery” of alternative rock music: when I first heard “1979” by the Smashing Pumpkins on the radio, it left an oddly indelible impression on me. Plus, the Beatles have hugely influenced me since childhood; to this day, I am inspired by their fearless risk-taking, all-encompassing creativity, and striking eclecticism. Because I’ve had such powerful encounters with music—classical or not—I feel extra passionate about making the music we play just as visceral, memorable, and transformative.

CFA: You’ve recently released the final installment in your “Rite of Spring” video project. What were some of your favorite moments throughout the project, from working on the concept, to realizing your artistic visions? What was that day like to film, when you sacrificed that 135-year-old organ? (Without a doubt, that seems like a pretty intense scene to shoot.)

GA: The music itself is so inspiring that every day of the filmmaking process was filled with incredible, inspiring moments. At times if felt as if we were insane; while filming naked in the ocean with a piano, I managed the rip off my toenail! And if course there were the dancers, paint, bubbles, fire, and bugs!

And yes, we truly did destroy a 135-year-old organ without the help of CGI; that really was us performing on a blazing instrument. It was a painful process, both physically (to state the obvious: it was really hot!) and emotionally. We had become quite fond of that organ after working with it for nearly a year. Though the total destruction of our film’s crucial prop was heart-wrenching, we did it for the music. We felt we no other choice: the music demanded it of us. We had to stay true to the colossal scope and vision of the music.

EJR: One episode was particularly memorable (and insane!) to film. It takes place just prior to the explosive finale, and at this point in the narrative everything is in the process of degeneration. We decided to have millipedes emerge from the organ as it rots, to represent the decay of material splendor and excess; this idea was inspired by the ancient organ (with its macabre aesthetic) and the music itself (which sounds creepy and ominous).

In any case, as inspired as our idea was, the execution (i.e. making the bugs move according to our wishes) was considerably less so—let’s just say I did not enjoy filming with the millipedes, and just thinking about the experience makes me shudder! All in all, this project pushed us to explore some strange and exhilarating situations, literally and figuratively!

[Ed. note: Check out the 10th installment of their “Rite of Spring” video project!]

CFA: Outside of the “Rite of Spring” project, which videos have you most enjoyed filming?

GA: Liz and I love to laugh, and we undoubtedly laughed the most while filming our “Moonlight Sonata” video. Throughout the short film, we impersonate various YouTube commenters responding to performances of legendary pianists (such as Argerich, Kissin, and Rubinstein).

Their comments are a bit inane (“I heard Beethoven play it, and he played it slower.”), so it was really fun to bring these characters to life in the most ridiculous way possible. In one scene, I physically had to leave the building because I couldn’t stop laughing at Liz’s portrayal of a loopy piano teacher; I was ruining the shot!

CFA: What are some moments from your new album that you’re the most proud of as artists? Can you speak to some of the artistic growth you two have experienced from your last recording to this one?

EJR: It is always such a beautiful challenge to delve into the music of Mozart—although his music sounds effortless and natural, it takes a tremendous amount of finesse, thought, and care to do it justice. We’ve put our heart and soul into the interpretation, execution, and reworking of his music in order to bring its spirit to life.

In terms of artistic growth, I think we’ve just grown so much as a duo throughout the past few years as a result of our constant touring and collaborating. We’re closely attuned to each other onstage, and we continue to push each other (and ourselves!) artistically in rehearsals and video-making, but beyond that we’re endlessly conversing about life and sharing incredible travels, discoveries, and  adventures, which undoubtedly reinforces our connection.

CFA: In looking at your program notes for the performance at Virginia Tech, it goes without saying that classical music plays an enormous role in your lives. However, Radiohead seems to have inspired you as well. How do you marry your interests in classical music and some contemporary works? What are some other contemporary works you enjoy performing?

EJR: We believe that great music is great music, regardless of genre, style, etc. In that sense, we are not attached to labels; we actually find them to be limiting! What matters about music is not what “category” it fits in; what matters is its impact on you—if it moves, excites, soothes, or uplifts you.

In that sense, we aren’t concerned about fitting in the “classical” box; in fact, it’s actually more historically accurate to infuse one’s music with improvisation, innovation, and individuality. After all, great composers like Mozart and Beethoven continually adapted and reworked music of their time. We aim to follow in their footsteps by drawing upon tradition while paving new pathways. Whenever we arrange or reinterpret a piece of music, we always make sure to honor the spirit of the original. It’s incredibly valuable to treat older works as if they are newly created, to approach them with the same sense of discovery and curiosity as one would with a brand new score.

And speaking of new compositions, we feel lucky to live in such an exciting time for music. The composers of our time—and especially those of our generation—have blurred the lines between genres, fusing diverse styles and revealing fascinating connections between ostensibly disparate traditions. Today’s musicians—ourselves included—are influenced not only by the classical/art music tradition, but also by technological innovation and the worlds of non-classical music.

CFA: Suppose you could construct a dream performance, during which you could play any pieces you want, and you could play with any musician (dead or alive): what would that program look like?

GREG: My answer will seem like a cop out, but it’s totally true: every performance is my dream performance. On Sunday at Virginia Tech, I’ll be playing my very favorite pieces with my favorite pianist and person ever. I couldn’t be more lucky.

Music is so transient; it’s in-the-moment and deeply personal. I’m affected differently every time I hear a piece, depending on my mood and the environment. As such, it’s hard for me to define my all-time favorite piece or composer. Instead, I find myself fully invested in whatever I’m playing or hearing, falling in love with the music and the experience.

EJR: I agree with everything Greg said! That said, I actually have many dream collaborations/programs, so here are a couple:

1. performing Brahms’ D minor Piano Concerto with the Berlin Philharmonic and Sir Simon Rattle, and
2. rocking out onstage as a guest singer/guitarist/keyboard player with Radiohead (I’m a huge fan!)