The daughters of professional musicians, the Rodland
sisters began making music together as children. Their individual careers as award-winning performers and teachers have taken them all over the world, and they began performing together professionally as the Rodland Duo in 2002. Recent Rodland Duo performances have included recitals at the Luna Nova New Music Festival in Memphis, Tennessee, at the 38th International Viola Congress in Cincinnati, Ohio, at Indiana University, the University of Michigan, and the University of North Carolina School of the Arts. The duo will be featured at the 2016 American Guild of Organists National Convention in Houston. Actively engaged in commissioning new works for their unusual combination of instruments as well as creating their own arrangements of existing compositions, their repertoire ranges from the Baroque to the contemporary. Critics have called The Rodland Duo’s performances “stunning” and “beyond praise.” American Weavings, their recently released recording on the Crystal Records label, led Gramophone to declare viola and organ “an awesome combination.” In addition to their active performing careers, they are both dedicated teachers: Carol is Professor of Viola at the Eastman School of Music in Rochester, New York, and Catherine is Artist in Residence in Organ and Theory at Saint Olaf College in Northfield, Minnesota. Their numerous individual accolades include top prizes at international competitions, such as the Washington International Competition, the Artists International Auditions, the American Guild of Organists National Competition, and the University of Michigan Organ Competition. For further information please visit www.carolrodland.com
“The Music It Performs, key projects, and history of performing new works”
Because organs vary tremendously, The Rodland Duo adapts its repertoire to each individual venue. We play a variety of Baroque-style repertoire, including the complete sonatas for Viola da Gamba and Harpsichord of Johann Sebastian Bach, sonatas for viola and harpsichord of Carl Phillip Emmanuel Bach, arrangements of Marin Marais French Dances, and Daniel Pinkham’s Sonata Da Chiesa, all of which work very well especially with tracker-type organs. When invited to play on a romantic-style organ with orchestral colors, we play our own arrangements of works for viola and orchestra, including Max Bruch’s “Romance,” Benjamin Britten’s “Lachrymae,” and Alan Shulman’s “Theme and Variations.” We also frequently perform our own arrangements of chorale preludes by Bach and Brahms, and have transcribed Craig Phillips “Song Without Words for Cello and Organ” for our duo. In addition to performing arrangements of existing music, we have also commissioned original works for our duo, including “Teshuvah” by Christopher Gable, and both “Concertpiece” and “Three Chorale Preludes” by John Weaver. Individually, we have commissioned and premiered works for our respective instruments by Kenji Bunch, Dan Coleman, Craig Phillips, Augusta Read Thomas, and Christopher Theofanidis.
Carol Rodland, violist
Catherine Rodland, organist