{"id":118103,"date":"2025-10-03T16:17:16","date_gmt":"2025-10-03T20:17:16","guid":{"rendered":"https:\/\/www.ludwig-van.com\/toronto\/?p=118103"},"modified":"2025-10-06T08:00:02","modified_gmt":"2025-10-06T12:00:02","slug":"interview-pianist-cheryl-duvall-composer-linda-catlin-smith-talk-plains","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2025\/10\/03\/interview-pianist-cheryl-duvall-composer-linda-catlin-smith-talk-plains\/","title":{"rendered":"INTERVIEW | Pianist Cheryl Duvall &amp; Composer Linda Catlin Smith Talk About The Plains"},"content":{"rendered":"<figure id=\"attachment_118105\" aria-describedby=\"caption-attachment-118105\" style=\"width: 1200px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-118105\" src=\"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2025\/10\/Copy-of-Copy-of-INTERVIEW-17.jpg\" alt=\"L: Linda Catlin Smith (Photo: Claire Harvie); R: Cheryl Duvall (Photo: Shayne Gray)\" width=\"1200\" height=\"628\" srcset=\"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2025\/10\/Copy-of-Copy-of-INTERVIEW-17.jpg 1200w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2025\/10\/Copy-of-Copy-of-INTERVIEW-17-300x157.jpg 300w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2025\/10\/Copy-of-Copy-of-INTERVIEW-17-1024x536.jpg 1024w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2025\/10\/Copy-of-Copy-of-INTERVIEW-17-768x402.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" \/><figcaption id=\"caption-attachment-118105\" class=\"wp-caption-text\">L: Linda Catlin Smith (Photo: Claire Harvie); R: Cheryl Duvall (Photo: Shayne Gray)<\/figcaption><\/figure>\n<p>The Plains, a new album that releases today (October 3, 2025) on Redshift Records, is the result of a collaboration, and friendship, between pianist Cheryl Duvall and composer Linda Catlin Smith. It\u2019s the first volume of a new set of recordings of Duvall playing Smith\u2019s complete works for solo piano to date.<\/p>\n<p>Smith\u2019s music has been gaining accolades in recent years, including praise from international media like the Guardian, the BBC, the Wire, and Gramophone \u2014 along with a commission from the BBC Proms.<\/p>\n<p>Unusually, The Plains consists of one, one-hour long work.<\/p>\n<p>LV spoke to both artists about the project.<\/p>\n<h3>Composer Linda Catlin Smith<\/h3>\n<p>Linda Catlin Smith was born in New York City, where she first studied composition and theory with composer and pianist Allen Shawn. She went on to further studies in composition at the University of Victoria in British Columbia. Her studies in piano began at the State University of New York at Stony Brook, and continued privately in Victoria.<\/p>\n<p>Smith made the move to Toronto in 1981, and became Artistic Director of Arraymusic from 1988 to 1993. She taught composition at Wilfrid Laurier University from 1999 to 2020.<\/p>\n<p>Her compositions have been performed by a wide range of ensembles and artists in North America and internationally, including Goeyvaerts Trio, Psallentes, Tafelmusik, Victoria, Kitchener-Waterloo and Vancouver Symphony Orchestras, Continuum, Tapestry New Opera, Via Salzburg, Evergreen Club Gamelan, Exaudi, and the Penderecki and Bozzini string quartets, and soloists such as Eve Egoyan, Philip Thomas and Elinor Frey, among others.<\/p>\n<h3>Pianist Cheryl Duvall<\/h3>\n<p>Cheryl Duvall has developed a reputation as one of Canada&#8217;s premier interpreters of new music. With an Honours BMus and Diploma of Chamber Music from Wilfrid Laurier University, and a Master\u2019s of Piano Performance and Pedagogy from University of Toronto, she began to focus on the music of living composers during her student days.<\/p>\n<p>Cheryl co-founded Thin Edge New Music Collective in 2011 with violinist Ilana Waniuk, and since then, the ensemble has commissioned more than 70 new works from composers, have toured and held residencies internationally. Cheryl has also worked with choreographers, film composers, and others on unique projects.<\/p>\n<h2>Linda Catlin Smith &amp; Cheryl Duvall: The Interview<\/h2>\n<p>Linda Catlin Smith and Cheryl Duvall met as teacher and student, respectively, at Wilfrid Laurier University<\/p>\n<p>\u201cCheryl was performing student compositions as a concert series,\u201d Smith recalls.<\/p>\n<p>Duvall was taking a course in composition as part of the theory component in her degree. Smith helped out with student concerts at the time.<\/p>\n<p>\u201cI got to know her when she was a very interesting composer in the first year,\u201d Smith says.<\/p>\n<p>Their musical friendship continued, and a few years later, Duvall would form Thin Edge New Music Collective in 2011. Thin Edge\u2019s inaugural concert included one of Smith\u2019s pieces. In 2023, the ensemble commissioned and recorded Dark Flower from Smith, for which the composer netted a JUNO nomination. <em>(Begin watching below at the 51 minute mark or so.)<\/em><\/p>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/BKQQphNe2us?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation\"><\/iframe><\/span><\/div>\n<p>The Plains will be the first volume of what will become a collection of Smith\u2019s works for solo piano.<\/p>\n<p>\u201cThe first volume is ready to come out on the third of October,\u201d Cheryl says. The rest of Smith\u2019s solo piano catalogue has already been recorded over a two-day studio session. \u201cWhen we recorded The Plains in December, I recorded three other pieces that day as well,\u201d she says. Other works have been collected over the years, including two that originally appeared on the Dark Flower album.<\/p>\n<p>\u201cShe surprised me with this idea,\u201d Smith says. Naturally, the recordings only include what she\u2019s written so far. \u201cThere might be more in the future.\u201d<\/p>\n<p>\u201cWe&#8217;re calling it the complete works from 1989 to 2023,\u201d Duvall adds.<\/p>\n<p>\u201cHopefully I&#8217;ve figured out a few things in those years,\u201d Smith laughs.<\/p>\n<p>Smith\u2019s reputation has been growing by leaps and bounds during that time period.<\/p>\n<p>\u201cIt has for sure,\u201d Smith says. \u201cI think it started when <a href=\"https:\/\/www.anothertimbre.com\/search?q=Linda+Catlin+Smith&amp;options%5Bprefix%5D=last\" target=\"_blank\" rel=\"noopener\">Another Timbre<\/a> started putting out CDs. That appealed to certain fans,\u201d she says. \u201cI don&#8217;t think he expected the kind of reaction. I think that was a turning point,\u201d Smith adds. \u201cWho knows how this works?\u201d<\/p>\n<p>Fame and popularity weren\u2019t on her list. \u201cIt wasn&#8217;t my goal,\u201d Linda says. \u201cIt&#8217;s not about how many people listen to it. It\u2019s trying to be true as you can, and hoping that someone will like it.\u201d<\/p>\n<p>She adds that having musicians like Cheryl who want to interpret new music is essential.<\/p>\n<p>Smith\u2019s music is often called meditative or contemplative.<\/p>\n<p>\u201cThere&#8217;s a lot of room for interpretation in my work,\u201d Smith says. \u201cThere&#8217;s not a ton of information on the page. It&#8217;s not micro managed in terms of interpretation.\u201d<\/p>\n<p>Two pianists might play it quite differently, in other words.<\/p>\n<p>\u201cIt&#8217;s more satisfying,\u201d Smith says. \u201cJust because I wrote it doesn&#8217;t mean I know everything about it,\u201d she adds.<\/p>\n<p>Her approach includes the performer as part of the process.<\/p>\n<p>\u201cThat informs me,\u201d Linda says. She says she learns something new with each interpretation of one of her works.<\/p>\n<p>As she notes, many composers have a very specific vision about what they want to hear. \u201cThe performer has to rise to that technical feat,\u201d Smith says. \u201cThat\u2019s a very different kind of music.\u201d<\/p>\n<p>It\u2019s also, as she points out, a relatively recent element in the realm of Western classical music.<\/p>\n<p>\u201cI think of myself more about earlier music, where there&#8217;s not so much on the page. It doesn&#8217;t have dynamics,\u201d she says.<\/p>\n<p>Cheryl Duvall plays Linda Catlin Smith&#8217;s The Surroundings (2014):<\/p>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/sz5rhxgTTnY?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation\"><\/iframe><\/span><\/div>\n<h3>The Recording Studio<\/h3>\n<p>Duvall says that the series of albums will include surprises for Linda Catlin Smith fans.<\/p>\n<p>\u201cI think there&#8217;s quite a few of the works that have never been recorded,\u201d Duvall says. That\u2019s despite the fact that they have been performed in public. \u201cI certainly felt like a lot of freedom with the unrecorded ones. It was so exciting to explore the colours, and the phrasing, and taking Linda&#8217;s musical instructions.\u201d<\/p>\n<p>Working directly with the composer is rewarding in many respects. The new album builds on their musical relationship, which includes recordings of Smith\u2019s music made with Thin Edge.<\/p>\n<p>\u201cWe would always consult with Linda about interpretation of the piece,\u201d Duvall recalls. \u201cI feel like there&#8217;s this history,\u201d she adds. With Linda present in the studio, those consultations continued. \u201cInevitably, when we were in the recording studio, I was able to take those ideas, and also to be very present with the instrument.\u201d<\/p>\n<p>It creates a singular performance of Smith\u2019s work.<\/p>\n<p>\u201cThe interpretations are very special,\u201d Duvall says. \u201cThey&#8217;re unique to that piano and that room.\u201d The process was both reactive and collaborative.<\/p>\n<p>\u201cA lot of the takes we decided on were the first ones,\u201d Cheryl notes.<\/p>\n<p>Smith says the back and forth allowed for both perspectives. She could sit back and present a more objective viewpoint.<\/p>\n<p>\u201cI think Cheryl and I were quite on the same page about what a recording experience is.\u201d It\u2019s not about cutting and editing to a seamless polish. \u201cIt&#8217;s more of a lived experience.\u201d<\/p>\n<h3>The Fazioli<\/h3>\n<p>The piano they used, a Fazioli, offered its own unique character for the project.<\/p>\n<p>\u201cThe piano \u2014 that Fazioli is such an unusual beast,\u201d Smith says. \u201cPianos are very interesting because each and every one has its own character,\u201d she adds. \u201cLuckily she&#8217;s played that piano a few times.\u201d<\/p>\n<p>\u201cI think the first time, when we were doing the Dark Flower recording, it was the first time I played that instrument,\u201d Duvall says. As she did, she realized it was the perfect piano for Smith\u2019s music. Other pianos require a different approach.<\/p>\n<p>\u201cIt takes a lot more work to make what I want to have happen,\u201d Duvall says.<\/p>\n<p>She notes that the piano she premiered The Plains on as a live performance was a different instrument. Her performance was a full six minutes shorter than the recorded version.<\/p>\n<p>\u201cIt didn\u2019t resonate the same way,\u201d she says. The Fazioli makes the difference. \u201cI didn&#8217;t have to go as fast to make the phrase alive. There&#8217;s a lot of more delicate and nuanced colours that you need, rather than a bombastic attack.\u201d<\/p>\n<p>The Fazioli offers a warmer and more intimate sound.<\/p>\n<p>\u201cIt&#8217;s full \u2014 but it also has a gentleness that I feel is not always easy to get on every instrument.\u201d<\/p>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/gZ9mE-Rq0a0?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation\"><\/iframe><\/span><\/div>\n<h3>An Hour Long Piece<\/h3>\n<p>Smith says it took about a year, on and off, while working on other projects, to complete The Plains.<\/p>\n<p>\u201cThis feels like this may be the hour long piece,\u201d she remembers thinking. \u201cIt was just an idea that Cheryl put in my head.\u201d<\/p>\n<p>An hour long piece allows her to more fully explore her compositional ideas. \u201cI decided to pursue that. When you know that you have an hour, what it does for me is it allows me to explore a bit more,\u201d Smith explains. \u201cI feel like I can wander in the material. What happens if I do this, and experiment? How long does it want to be?\u201d<\/p>\n<p>That line of thinking led to the title of the work.<\/p>\n<p>\u201cYou might have a large field, but within that field, you might have flowers,\u201d Linda says. The piece is large, but brims with small, telling details. \u201cTitles are really late with me.\u201d<\/p>\n<p>Smith seems to have developed a taste for longer works. She says she\u2019s currently writing another hour-long piece for the Thin Edge Collective.<\/p>\n<p>\u201cI&#8217;m back in the world of extended thinking,\u201d Smith adds. \u201cIt&#8217;s nice to have just that whole experience I can shape from beginning to end, and to allow these longer thoughts.\u201d<\/p>\n<p>It comes in contrast to the zeitgeist, of course, which says that attention spans are getting shorter.<\/p>\n<p>\u201cI feel like I&#8217;m training myself to have these longer thoughts,\u201d Smith says.<\/p>\n<p>Cheryl\u2019s interest in performing longer pieces goes back several years.<\/p>\n<p>\u201cI started a project for myself in 2019, where I did commission six hour long works,\u201d Duvall says. The Plains was an offshoot of that initiative. Linda had come to a concert to hear the premiere of another piece, and Duvall put the idea to her.<\/p>\n<p>\u201cWe talked,\u201d Duvall recalls. \u201cI had actually played Linda&#8217;s longer cello ballad with other pianists,\u201d she adds.<\/p>\n<p>\u201cThe experience I had of playing those pieces between 2014 and 2019 was what made me want to sink my teeth into these longer works,\u201d Cheryl says. \u201cMy experience of playing never felt like an hour,\u201d she remembers. \u201cThat so intrigued me that I wanted to dive deeper into it.\u201d<\/p>\n<p>Feedback from audiences told her that their own experience also had a timelessness quality.<\/p>\n<p>\u201cIt was never, oh that felt so long,\u201d she reports.<\/p>\n<p>Learning it wasn\u2019t much of a stretch. \u201cThe interpretation is kind of the same as learning a large sonata,\u201d Duvall says. \u201cLike a big Beethoven sonata \u2014 it&#8217;s long. You have to understand it as a macro, and see a map of it. But you also have to see the micro,\u201d she explains.<\/p>\n<p>\u201cI approached it similarly to how I was trained to interpret working on my Masters,\u201d she says. It\u2019s about understanding the whole, but creating each moment as they come up.<\/p>\n<p>\u201cYou&#8217;re in two places at once. You&#8217;re guiding the audience through the experience. You know the end, they don&#8217;t,\u201d Cheryl adds. \u201cI loved interpreting it. It was just a joy, and pushed me in amazing ways.\u201d<\/p>\n<p>It\u2019s a different kind of experience than the kind of flashy technique that might be expected from a Chopin or Beethoven, or other work in the historical canon. Touch, balance, colour, phrasing, and connecting the phrases takes on a different quality.<\/p>\n<p>\u201cThe kind of virtuosity that it takes to play nuanced, subtle and spacious music, still music (it&#8217;s hard to come up with the correct adjectives, to be honest) is its own unique challenge.\u201d<\/p>\n<p>\u201cIt&#8217;s not technically difficult,\u201d Smith adds. \u201cBut, the technical difficulty is controlling the colour. It&#8217;s just massive concentration. I imagine it&#8217;s quite tiring in the end. It&#8217;s a bit more tightropey.\u201d<\/p>\n<p>\u201cThat&#8217;s what makes it rewarding,\u201d says Cheryl. \u201cAnd that\u2019s what makes it feel like you&#8217;re sucked out of time.\u201d<\/p>\n<p>\u201cMusic changes time,\u201d Smith notes. \u201cI wanted to write music where you can hear everything.\u201d<\/p>\n<ul>\n<li>Buy the digital album The Plains [<strong><a href=\"https:\/\/redshiftmusicsociety.bandcamp.com\/album\/linda-catlin-smith-the-complete-piano-solos-1989-2023-vol-1-the-plains\" target=\"_blank\" rel=\"noopener\">HERE<\/a><\/strong>].<\/li>\n<\/ul>\n<p><strong><em>Are you looking to promote an <a href=\"https:\/\/www.ludwig-van.com\/toronto\/advertising\/\" target=\"_blank\" rel=\"noopener\"><span style=\"color: #0e101a\"><u>event<\/u><\/span><\/a>? Have a\u00a0<a href=\"https:\/\/www.ludwig-van.com\/toronto\/masthead\/\" target=\"_blank\" rel=\"noopener\"><u>news tip<\/u><\/a>? 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