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d.u.o is an acronym looking for actual words... but it sure sounds cool. d.u.o entered the classical music scene for one reason only: To alleviate the terrible tedium of classical concerts. Kenn Willson and Maria Choban first joined forces in 1994 to present a concert in a risky setting. Rather than the traditional stage versus audience, d.u.o surrounded the audience with 3 pianos. At twenty-five feet apart, what do you think the acoustics were like for the performers? Remember to factor in sound delay. And why were there 3 pianos for 2 performers? At twenty-five feet apart, the acoustics suck. You feel as though your partner is perpetually dragging. But that's not what the audience hears. Enmeshed in sound, the audience feels as though it's sitting in the viola section of the New York Phil - smack dab in the middle of everything. People were even lying UNDER the pianos. Of course there wasn't enough room for the entire audience to sit inside this twenty-five foot equi-distant triangle, so the late comers and not-so-brave sat on the outside looking in. The audience loved it, the critics loved it, and if you don't believe us check out the concert reviews. Thinking this was a good thing, Willson and Choban decided to record some of these works. One obvious inclusion was Tomas Svoboda's Suite, op. 124: A three part work beginning with the American machine like drive and culminating in a wild violent dance causing audiences to erupt in spontaneous, loud standing ovations, complete with cheers and whistles. If you think this is hyperbole, listen to the excerpt of the Suite. And what about that third piano? The notoriously meticulous composer, Tomas Svoboda, is also one hell of a pianist. After hearing Willson and Choban, hereafter referred to as d.u.o, Svoboda offered to compose a work especially for d.u.o. However, it was to be a three piano work and he was to be the third pianist! Anyway, six years later, with a cool name, a cooler cd, and more concert tricks and laughs up our sleeve than any other 4-hand duo team we can think of, d.u.o is happy to be here. If you want information about booking us, send us an email and we'll get back to you within 3 days.
Maria Choban founded Small World because no recording company was willing to take a risk on her vision - anything but more Bach, Beethoven, and Mozart - and on her sound - interpretations that are sonically sexy, disquieting and emotional. Choban's work with Kenn Willson began in earnest in 1994 with "The Svoboda Project," a '60s style event involving an audience sprawled on the floor encircled by three pianos. Tomas Svoboda wrote a piece just so he could be part of this happening as one of the three pianists. The event was wildly successful and the collaboration continued. Choban also spent two years in Greece researching the music of her homeland. Her upcoming solo CD will include gems discovered while on that sojourn.
"Wuzzup Doc?" "Well, frankly, I think I need more fun." Kenn Willson's purpose is to inoculate against boredom and to spread enthusiasm in the quest for knowledge. Known for disappearing from the stage, stranding his d.u.o partner, and reappearing as Jar-Jar Binks; or for stirring up debate in his music history classes by insisting that the music of Beethoven has everything to do with rock and roll; Willson's need for fun is insatiable - lucky for his students and audiences. He earned his Doctor of Arts at the University of Northern Colorado, writing his dissertation on the composer Tomas Svoboda and his piano duets. Willson is Associate Professor of Music at George Fox University in Oregon. Future releases include more d.u.o. discs and a video series on famous composers with Willson's historical/hysterical approach to their lives.
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