Elizabeth's latest album of the complete Field Nocturnes is continuing to receive accolades:

5 STARS ... Elizabeth Joy Roe is revealed as an intelligently expressive, deeply nuanced advocate. In one nimbly graceful performance after another she lifts Field’s music out of the long, twilit shadows of Chopin’s later assumption of the nocturne to make substantial and persuasive claims for their own manners and merits. There’s much to enjoy in playing of liquescently sensitive technical precision that exquisitely encapsulates Roe’s description of the nocturnes in her excellent booklet note as “half-waking dreams in a night without gloom”. The overall effect is intimate, intense and involving in equal measure, the recording beautifully framed in Suffolk’s Potton Hall. In a word: sublime.

The Washington Post:

The American pianist Elizabeth Joy Roe (of the popular piano duo Anderson and Roe) has been fascinated by Field’s nocturnes since her student years at Juilliard. Now she’s compiled a generous 86 minutes of them on a new album. There was more than just recording the beautiful music. Roe conducted considerable research on Field, hunting for definitive sources, which survive in various editions (one revised by Liszt in 1859) and numbering sequences.
Field, who was born in Dublin in 1782 but spent most of his career in Russia, forged a new style. His slow-paced, lyrical nocturnes are ripe with emotive gestures and flights of fancy. Imbued with lilting melodies, the pieces often sound like wordless songs or operatic arias. Although as Roe points out in the booklet notes, their musical DNA relates to slow movements in Mozart or Beethoven, the sound is uniquely Field’s. His oversized personality — fueled by wit and alcohol — reportedly matched his enormous success.
In nocturnes such as Nos. 1, 5 and 6, Roe skillfully displays Field’s recipe of a singable, ornamented melody in the right hand accompanied by rippling arpeggios or widely spaced chords in the left. No. 4 might be the most beautiful, its bittersweet tune unfolding in Roe’s pearly runs with crepuscular harmonies. A few nocturnes break the mold. No. 13 mesmerizes with the melody in block chords in the left hand, while the right ladles on a repeated theme above. No. 16 plays like a scene from a Donizetti opera, its sweeping lyricism punctuated by dramatic asides, while No. 12 lopes along with a jaunty tune.
Field’s nocturnes have similar moods, but careful listening reveals that Roe makes each an individual portrait.

Additional press:

Here are a couple new videos posted over the summer:

Strings Music Festival preview:

Live performance with Decoda (recorded in Seattle):

Finally, an in-depth interview in the first episode of the new Through the Stage Door Podcast:

Produced by the International Beethoven Project, and hosted by George Lepauw, Through The Stage Door is a new podcast that gives listeners unequalled access to the artists behind the art, to the leaders who shape the art world, and to the radicals past and present who continuously redefine art, and in so doing, our entire world. This podcast is for anyone curious about the arts, whether you are an expert in an art field or just an onlooker. There may occasional expert speak, but these conversations are typically informal and designed for the general public of all ages. Episode 1 is a long-form conversation with the YouTube stars Anderson & Roe, who form a radically new kind of piano duo. Described as “the intense synchronisation of genius” (ThirdCoast Digest) and “the most dynamic duo of this generation” (San Francisco Classical Voice), the Anderson & Roe Piano Duo aims to make classical music a relevant and powerful force around the world. They have made several recordings for the Steinway Label, have appeared on NPR and MTV, and tour the world. In this interview, we broach their individual and collective backgrounds, their professional story, the making of some of their key music videos and recordings, and their thoughts on music and life. We also explore some of their interests in and out of music. It is a very personal and in-depth interview that is even more about their human journey than their musical career. As Greg Anderson said in this conversation, "we allowed the serendipity of life to take its course." Please enjoy. PS: This podcast series will be available on iTunes in Fall 2016. This Soundcloud version essentially gives an early-bird taste of this new series to those listeners who find us here first. If you are interested in becoming a sponsor, advertiser, or even just a donor to help support this endeavor, please send an inquiry to ibp@internationalbeethovenproject.com for more information. You can also learn more about Anderson & Roe at www.andersonroe.com and more about George Lepauw at www.georgelepauw.com.

It has been a momentous spring: in May, Decca Classics released Field: The Complete Nocturnes (for the first time on a single disc). Charting in the Top 10 of the Billboard classical chart, it has been praised by critics and listeners alike; the latest review in the NZ Herald gives it 5 STARS:

Roe's own booklet essay hails them as "a sort of universal music, transcending the bounds of geography and time, a reminder of Night's eternal allure and our enduring dreams of escape, oblivion and communion". Her persuasive interpretations easily support such claims and reveal a composer unjustly marginalised. What might have been museum pieces have life and vibrancy, through her restrained rubato and sensitive voicings, necessary when Field's textures don't always have the airy spaciousness of Chopin's.

She deftly moves from major to minor in the opening E flat Nocturne and massages the quite startling dissonances of another in A flat major. The potential finger tangles of a Nocturne pastorale are gracefully overcome and the beams of a noontide sun break out in a sprightly, sparkling "Nocturne caracteristique."

Elizabeth has maintained a busy touring schedule as well, performing across the US and in Asia. Performance highlights include a duo debut in Hong Kong, a three-concerto extravaganza with the Waco Symphony Orchestra, a sold-out concert of world premieres at the Gilmore International Keyboard Festival, and a chamber music residency at the University of Washington with Decoda. In addtion, the Anderson & Roe Piano wrote a foreword for the newly published edition of Piano Duet Repertoire.

Elizabeth and Greg will perform at music festivals throughout the summer; visit the calendar for details. And follow the duo on Instagram for the latest tour photos!