(#3 of 3) Making the Video, the Anderson & Roe way

In the middle of December 2006, we devoted three frenzied days to the process of filming our own music videos. There was never a dull moment—in general, when the two of us start throwing ideas around, mischief inevitably ensues. We threw caution—and our dignity—to the wind, and we had great fun pushing the boundaries!

 

Equipped with Liz's mom’s modest camcorder, various “costumes,” no budget, and a few awesome friends as extras/cameramen/bemused spectators, we set to work on our first video. (Watch it below!)

The music: A New Account of the Blue Danube Waltzes

The location: Yale University

Greg in grey, Liz in black:

Filming this video proved to be difficult on multiple levels. While we managed to film the other two videos in a matter of a couple hours, the variety of venues, the difficulty of the piece, and the continual suppression of laughter necessitated three days of filming to capture the footage we wanted.

The piece itself is unbelievably difficult to play. Believe it or not, it's even harder than it looks. In its totality the piece is exhausting to perform, but even filming sections repeatedly tested every ounce of endurance and focus we had! Yes, we only have ourselves to blame.

…sigh...

An unexpected difficulty, for me especially, was acting and playing at the same time. I need to look at the keys if I have any hope of playing the right notes! How can one be expected to gaze rapturously into Liz's eyes while assailing the piano with virtuosic aplomb? Hmmm? Needless to say, those within ear range of our video shoots were privy to what easily could have been confused with a cow giving birth.

Difficulties were indeed the hallmark characteristic of the filming process, but for me the element of absurdity was (yet again) the most salient trait of this experience. But don't get me wrong: we fully embraced the embarrassing situations we put ourselves in and had a grand time enacting a shamelessly sentimental romance within an idyllic setting. I can't tell you how many times the takes were ruined by fits of laughter (mine, mostly). My loopiness was balanced by Greg's typical state of single-minded concentration, but his focus too was leavened by interludes of giddy hilarity. I'd like to blame our nonsensical behavior on fatigue and stress, but all excuses aside, the truth is that we both have tendencies toward inordinate silliness, especially when we are around each other! Whether or not this is a good thing, we always manage to get our mission accomplished, and laughter is good for you.

The filming of this particular video also left me with heightened respect for actors because it certainly is strange to portray stories and situations that contradict reality. The most awkward moment of all: "the kiss." We're close in real life, but not that close! We had to artfully devise ways to make the scene work because we certainly weren't willing to completely sacrifice our wonderful, platonic relationship for the sake of "art."

(Still, I might have a future as a thespian after all; as the outtake reel shows, random people on the street seemed to believe that I really dropped my glove by accident!)

Hi! It's Greg again. I just thought I'd add another difficulty to the list: editing the video. Mac's iMovie is a fantastic program, but I don't think it was designed to make elaborate Anderson & Roe music videos. The video clip viewer is intended for maybe a dozen video clips, and not the thousands (perhaps hundreds of thousands!) of video clips that made up our latest video. Every time I wanted to find a particular clip ("I know it's here somewhere!!"), I spend upwards of six to seven minutes sorting through clips of us dancing, playing, acting, and mostly, messing up…

On a less facetious note, Greg and I hope that the video and the music generate the same kind of dizzying, whimsical, glorious enjoyment that the waltz evokes.

Enjoy the beautiful spring weather!

Click here to watch the outtakes!

Cabaret at The Rep

It's Greg here, commenting on our latest concert in Milwaukee, Wisconsin - an awesome cabaret-style event with an awesome audience! We were so fortunate to premiere our new depiction of Saint-Saens' zoological fantasy in a theatrical setting populated with joyous listeners.

Our latest composition is a completely new take on Saint-Saëns' Carnival of the Animals. This is not the Carnival of the Animals you heard in your third grade music class, even though it's based on some of the familiar melodies from the original score (in addition to a whole lot more). The piece attempts to go beyond a simple musical depiction of animals; in fact, it has more to say about humans than anything else...

The premiere went remarkably well, considering the rush to compose and prepare it in time. Yes, there were a few lost notes here and there, but we compensated with our characteristic first-performance adrenaline and spontaneity. I am, nonetheless, quite embarrassed to confess that I completely lost it when Liz began speaking in a pseudo-European accent during the text to "Homo pianisticus!" "Keep a straight face, Greg! Keep a straight face!"

If we learned one thing performing at The Rep in Milwaukee, however, it was this: don't let your audience select and arrange a portion of your program for you. In theory, it was a great idea – it allowed audience members to interact with us and it gave them a say in the shape and content of the program. But in practice, the results can be downright merciless to the performers!

Audience members were given a ballot to fill out during the first half of the concert.

"Please vote for three of the following works. The three or four pieces to receive the highest number of votes will be performed by the Anderson & Roe Piano Duo during the second half of the program."

What did the audience choose? The fastest, most technically challenging pieces on the list! Do we blame them? Of course not! Is it physically possible to follow the first impression from our Star Wars Fantasy with the "Dance of the Earth" from The Rite of Spring and our arrangement of Piazzolla's Libertango? Well, barely!

Regardless, the "Audience Votes" section of our concert kept us on our toes, and we were sure to conclude the concert with an unhurried encore.


If you were in attendance, let us know what you thought!

Swans, swans, and more swans

(Greg writes in grey)
(Liz writes in white)

Liz and I are presently en route from LA to NYC reflecting on a lavish albeit brief sojourn at the Hotel Bel-Air, where we performed for a special Juilliard function. What a hotel! You know you are residing in the lap of luxury when your wake-up call includes a detailed description of the day’s weather and a bellman bringing you your choice of coffee or tea on an elegant tray.

We arrived on Saturday afternoon in an uncharacteristically cool Los Angeles. Ironically, we left warmer and more gorgeous weather in New York! However, we had no need to complain because the hotel's sprawling grounds were absolutely breathtaking. The hotel is famous for its idyllic gardens, swan-laden ponds, and old-Hollywood décor. We actually got our first taste of the high life at the airport when we were escorted directly from the gate to our car service (with a driver named Duke, no less!).

Upon arriving at the hotel we were warmly greeted at the hotel as "Mr. Anderson and Ms. Roe" and were referred to as such by the staff for the remainder of our stay. As our rooms were being prepared for us, we decided to grab some lunch at the hotel restaurant, dining alfresco beneath a latticed ceiling of sorts adorned with fuschia flowers. After our meal we were led to our handsomely furnished rooms; among the unique features of our rooms was a private patio with a little fountain in mine and a huge plasma-screen TV in Greg's. Since the pianos hadn't been delivered yet, Greg and I had about an hour to kill, and so we decided to take advantage of the pool (not a bad way to pass the time!). We felt terribly lucky and terribly spoiled as we basked in the sunshine sipping our fresh pink lemonades on towel-covered chaises and wading in the heated waters. The rest of the day consisted of a rehearsal and a super-deluxe three-course dinner. We capped the day off with a late-night viewing of Tristan and Isolde (the movie, not the opera), which we watched on Greg's massive TV.

**A funny tangent: we were having problems with the DVD player - for some reason, the DVD was playing, but nothing was showing up onscreen and no sounds were playing either - so we called the front desk for assistance. For some reason it took nearly an hour for someone to show up, but finally a kindly staff worker appeared. I suppose we left the DVD playing during that hour because when the worker eventually got the machine to work, the image of a nearly naked James Franco and Sophia Myles passionately kissing popped onscreen! We all laughed and Greg tried to temper the embarassment of the situation by remarking, "Um, it's actually an action movie..." And he wasn't referring to that type of action!**

On Sunday we had brunch at the hotel restaurant (it was another sumptuous and time-consuming affair). During the afternoon, we were interviewed by a Chinese television crew about our experiences at Juilliard, and we had a little bit of time to warm up in the ballroom. Incidentally, the stage had to be reset after a wedding reception. This hotel is apparently a popular site of high society weddings, and it's amusing that Greg and I consistently yet pointlessly find ourselves in romantic locales such as this! Finally, the official events started: a cocktail reception preceded an elaborate dinner which was punctuated by eloquent speeches by President Joseph W. Polisi, Dean Ara Guzelimian, and Drama Division director James Houghton. At last, it was time for Greg and I to take the stage. We performed an eclectic program of our signature transcriptions: two movements from our Star Wars Fantasy, the Libertango, Erbarme Dich and Danse macabre. It was a success and the audience - filled with donors, alumni, and friends of Juilliard - responded with great zeal.


Afterward, Greg and I celebrated by pigging out on room service fare (which Greg joyfully chronicles here).

My favorite example of the pampering, mollycoddling treatment we received at the hotel (and our reaction to it)…

Sunday following the concert, Liz and I were still hungry.

(It's hard to eat a full meal immediately prior to performing. Have you ever heard of food coma, that sleepy feeling caused by the expenditure of energy toward the digestion of your meal? It doesn't serve a pianist well mid-Anderson & Roe performance.)

Anyway, we ordered room service. Liz and I had had enough five-star food for one weekend, so Liz ordered a grilled cheese sandwich, I ordered mac and cheese (my favorite), and the two of us ordered a serving of French fries. A half-hour later, a server strolled in with a table-on-wheels beautifully laden with our meals, individual jars of condiments (including butter shaped like swans), a bouquet of fresh flowers, a basket of artisan breads, and a pot of hot tea. It was glorious. The French fries were topped with real truffle shavings and Parmesan cheese; my mac and cheese was unlike any I've had before; and Liz's grilled cheese...well, Liz's grilled cheese had somehow morphed into a plate of assorted goat's cheeses.

She didn't care. The two of us, unkempt in our pajamas, gorged ourselves without any consideration for the civilities of upstanding social etiquette. We downed the truffles and smothered our faces with cheese, all the while squealing with laughter at the over-the-top nature of the situation. Who couldn't help but dissolve into hysterics at the sight of Liz filling her mouth with exotic cheese while at the same time restocking her supply of pommes-frites, all the while engaging in truly inane conversation?

We certainly enjoyed our glamorous escape to LA, but we were indeed happy to return to our more humble if responsibility-loaded lifestyles back on the east coast.

(#2 of 3) Making the Video, the Anderson & Roe way

In the middle of December 2006, we devoted three frenzied days to the process of filming our own music videos. There was never a dull moment—in general, when the two of us start throwing ideas around, mischief inevitably ensues. We threw caution—and our dignity—to the wind, and we had great fun pushing the boundaries!

Equipped with Liz's mom’s modest camcorder, various “costumes,” no budget, and a few awesome friends as extras/cameramen/bemused spectators, we set to work on our second video. (Watch it below!)

The music: the "Pas de deux" from Samuel Barber's Souvenirs

The location: Timothy Dwight common room, Yale University (New Haven, CT)

The scenario: We wanted to include a sophisticated piece in our Anderson & Roe four-hand music video trilogy, and we easily settled on one of our favorites: Samuel Barber's "Pas de deux." Barber wrote the piece with a certain nostalgia toward the dance forms of the early 1900s, and we strove to evoke the same respect and reverence in our video. Hence, Liz's retro dress and my tightly combed hair.

The process: Filming the video, we found ourselves longing for the quiet world we had created for ourselves. This experience reminded us of an age before the invention of the television when it was commonplace to find people actively collaborating in the creation of music (for that matter, Liz and I usually choose practicing together over watching TV). Such a simple joy – two people coming together to create something beautiful and true – can be incredibly rewarding, and it's no wonder Barber's wistfulness soon crept into our own psyche as well.

The outtakes: :-) ...we formed our vision of these outtakes while editing the videos. There weren't too many funny moments documented on camera, but after spending hours watching ourselves conjure up some awfully intense facial expressions, we were inspired to try something a little different. Yes, the outtakes (just about) cross the line, but that's what happens when the two of us spend too much time together!


Anderson & Roe perform Barber's "Pas de deux."

Click here to watch the outtakes!

Questions from Daniel Baker

Dear Greg and Liz,
What would you say is your mission, exactly? You're both excellent pianists who try to break the mold and expose wider audiences to classical music, but I'd like to hear it in your words. And, on another, fairly unrelated subject, what do you know of the Liszt two piano versions of the operatic fantasies? I think that the antiphonal possibilities are gorgeously exploited in Norma, for example. Thanks
- Daniel Baker

Dear Daniel,

We defined our mission several years ago, and it has literally shaped all of our decisions as individuals, as musicians, and as a team. So, bombs away:

Greg & Liz's mission:

  • To connect with others; to engage, provoke, illuminate; to serve as a conduit for the composer's voice; to 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

As for Reminiscences de Norma, we urge you to purchase Greg's solo album, "On Wings of Song!" You'll find Greg playing the solo version there, and he continues to perform the work on many of his solo concerts. It would be unnecessarily confusing for him to learn both versions of the piece: a recipe for disaster. (It would be pretty embarrassing to slip into the two-piano version in the middle of a solo recital!) Similarly, although we used to play Ravel's La Valse in its two-piano version, we took it out of our performing repertoire when Liz started playing the solo version in concerts and competitions. Too confusing.

You're right; the antiphonal possibilities are wonderful in the two-piano version of Reminiscences de Norma, but (and a big "but" here), if we were to ever perform the work, Greg would insist upon recreating the six-or-so minutes of music that Liszt cut from the solo version in arranging the work. Liszt cut Greg's favorite arias (and the arias that add the most dramatic weight to the paraphrase, no less)!

Thanks for your interest in our work!