Our repertoire

Our repertoire is a source of pride and part of what makes performing such a kick for us. We love the best of the standard classical pieces, whether originally written for our instruments or respectfully borrowed and adapted for viola and piano. We see no need to allow a division between the eclectic mix we like to hear recreationally and the music we were trained to perform. The two of us share some favorites, but our individual tastes differ just enough to bring in an ever-expanding variety of the most creative music we encounter.

Here's a small sampling of what we've been known to play:

• One of our favorite tricks is to create adaptations of music originally for the voice, everything from operas like Carmen and La Boheme to art songs of Debussy to Cole Porter, Astor Piazzolla and Lyle Lovett. For the nearest future, here are a few folks whose tunes we'd like to borrow pay homage to: Bjork, The Decemberists, Fleetwood Mac, Bat for Lashes, John Adams, and a few soundtracks we plan to scavenge: Fido, Edward Scissorhands and the works of Tan Dun.
  

• We are classically trained and deeply enjoy the expressive range of the virtuosic standard works for viola and piano, such as the sonatas of Brahms, Clarke, and Shostakovich. There are also works by Prokofiev, Bruch, Vivaldi, Telemann, Chopin, Bach, and Elgar among others.

• We are definitely, above all, adventurous. We love to collaborate with multi-media artists and to develop the range of our instruments, including working with audio looping technology and other modern sound treatments.

• An audience is more engaged when they have a connection to the music we present, so we often use our performances to teach about how music functions and how we choose and approach our works. We ourselves have a desire for knowledge and its ability to deepen affinity, and hope to recognize and foster that in our audiences.

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