About Amade Music

Roderick Phipps-Kettlewell

About Amade Music, Inc.

Amadè Music, Inc. is a Music Services company, providing customized services to a national and international clientele. World class musical excellence and responsive service is the hallmark of this emerging company, based on the talents of its President and Creative Director, Roderick Phipps-Kettlewell. {Resume}

Roderick Phipps-Kettlewell (formerly Roderick Kettlewell) brings many years of professional experience in the area of live performance, recording, and innovative teaching, based on standards set by a world class education and musical training in England, France and the US, concluding with a Master’s Degree from the Juilliard School in New York City. As a pianist fluent in classical and popular idioms, he has recorded over 35 customized CDs with sales over ONE MILLION!

If you are seeking excellent musical content for an event or recording, you can be certain you have found your solution. When you want creative programming that perfectly fits your exact needs, with guaranteed quality, contact us to fulfill your musical objective.

Roderick Phipps-Kettlewell

Roderick Phipps-Kettlewell

Artist-Teacher-Musician

Roderick Phipps-Kettlewell spent the first half of his life in England and, after an extensive education and musical training in England, France and at the Juilliard School, he has enjoyed a successful career based in the United States, in a wide variety of professional musical activities.

He has performed and recorded as a piano soloist, as an accompanist and chamber musician (including with the Saint Paul Chamber Orchestra), throughout America and in Europe, including at Carnegie’s Weill Hall.  The reviewer of one such concert wrote:

“[his] contribution was of stunningly beautiful substance, his playing a continuum of every nuance, and replete with the variegated textures and colors that swim and sparkle in this repertoire…  I’ve rarely heard the Steinway at Weill sound so good as he was able to coax it.”

In addition, he has conducted extensively in the choral, opera and orchestral genres. Roderick has also worked in straight theater, musical theater and different popular musical styles.

As a passionate and experienced teacher, his focus now is to develop innovative ways to nurture creativity and expression, supported by excellence in technique and musical knowledge. As a lecturer, his interests include the intellectual enquiry into cultural history, with a particular interest in the relationship between the creative output of an artist and their life’s experience, in the context of their time and place.

He has taught at Queen’s College, Macalester College and the University of St. Thomas and lectured in many venues, including at the Concord School of Philosophy in Concord, Mass., on many musical and cultural subjects.

Roderick founded his company Amadé Music after independently producing a successful series of recordings for several record companies.  His recordings have sold over a million copies! He can now produce his own recordings and expand his commercial offerings in the musical services sector, including customized live events, music seminars and other education services and an expanding line of music related products.

He is currently based in Mahtomedi, Minnesota with his wife Marilène, an award-winning Haitian-born oil painter, poet and short-story writer (www.marilenephipps.com).

Accomplishments

Selected Events Pianist, Cabaret and Theater

  • Amadé Music, Inc.  Own Music Services Business – extensive experience as a solo pianist for special events, in both classical and jazz styles – corporate, private and Dayton’s Department Store – 1987-present
  • “Godspell” – Music Director for Moonstone Production, Cambridge, MA – 2013
  • “Beggar’s Opera” at Juilliard Drama Center. Keyboard and Assistant Music Director, with Director Michael Langham – 1984
  • Theatrical revue with jazz singer, Cookie Coleman, based on a Second World War Romance, including Swing Tunes – 2004
  • Theatre Exchange, Minneapolis; Pianist and Music Director for multiple shows – 1993-94
  • New York Off-Broadway productions; Pianist and Music Director – 1986-87
  • Cabaret and jazz performances, touring the south of England – 1978-81

Selected Broadcasts

  • Minnesota Public Radio – Performance and interview with classical music host John Birge on the Morning Show, September 2007.
  • “A Prairie Home Companion” October – 2006
  • Minnesota Public Radio – Live performances including the “Morning Show”, “Live from Landmark”, and performances from Lake Harriet Bandshell – 1989-2004
  • Minnesota Public Radio  – Solo piano performance on two live Literary shows, Catherine Lanpher, host, from the Fitzgerald Theater – 2004-05
  • WCAL broadcasts including “Moods, muses and music”.  Special event for the Minnesota Mental Health Association at the Children’s Theater in collaboration with author Kay Redfield Jamieson.  Explored the connection between musical creativity and mental illness – 1995
  • “The Today Show”, NBC National Broadcast – 1986

Selected Solo Recitals

  • Mozart’s 250th Anniversary Concert, St. Paul – 2006
  • Weil Recital Hall at Carnegie Hall, New York – 2002
  • St. John the Evangelist Music Series, St. Paul – 1999, 2001, 2004
  • Bach Society of Minnesota Concert, St. Paul (works of Bach) – 1999
  • Wayzata Community Church Music Series – 1989, 1993, 1996
  • Schubert Club Lunchtime Series – 1990-92
  • St. Paul Early Music Series, Fortepiano – 1991
  • Schubert Club “Early Music Series” Fortepiano – 1989
  • Alice Tully Hall, Carnegie Recital Hall, New York – 1983-84
  • Wigmore Hall, London – 1983

Selected Piano Concertos

  • Linden Hills Chamber Orchestra, Mozart Concerto No. 27 – 2006
  • Minneapolis Civic Orchestra, Schumann Piano Concerto – 1997
  • Minnetonka Chamber Orchestra, Mozart Concerto No. 21 – 1996
  • Mississippi Valley Chamber Orchestra, Mozart Concerto No. 9 (on Fortepiano) – 1989
  • University of Southampton, England –  Mozart Concerto, No 9 – 1981

Selected Piano Chamber Music

  • St. Paul Chamber Orchestra Chamber Music Series – 2007
  • St. John the Evangelist Music Series – recitals with musicians from the Minnesota Orchestra and Saint Paul Chamber Orchestra –1997-2004
  • Wayzata Community Church Music Series – 1989-96

Selected Orchestral Pianist

  • Saint Paul Chamber Orchestra regular additional keyboard musician – 1999-2008
  • Minneapolis Chamber Symphony Keyboard/Piano – 1991
  • Royal Albert Hall, London – 1975

  • Piano Singer – 2007
  • “Classical Piano Favorites” –2005
  • The Winds of Mars(solo keyboard music of Bach) – 1999
  • “Pictures at an Exhibition” (Mussorgsky’s original piano version) and Satie’s Trois Gymnopédies – 1996
  • “Classics for the Soul” (with violinist Yuri Merzhevsky – as pianist and producer) – 1995
  • Beethoven, Mozart, Debussy and Chopin Naturally” – 1994-95
  • Curiously Classical (for Baby Genius to accompany Curious George books with Tamas Strasser and Norbert Nielubowski – as pianist and producer)
  • Classics for Children (with Julia Bogorad and Peter McGuire)
  • La vie intérieure(French Song Recital with soprano Patricia Kent – as pianist and producer)
  • God in every heart (Sacred music of Rush Tully – as pianist and producer)
  • Ireland Remembered (with singer Jerry Hinks – as pianist and producer)

Teaching Experience

  • New England Conservatory, Boston Conservatory, Longy School, Boston University
    Coach and Accompanist, Adjudicator – Boston, 2008-2014
  • Groton School, MA – Choir Director, 2013
  • Brooks School, North Andover, MA – Choir Director, Piano and Voice Instructor, 2010-2013
  • Buckingham, Browne and Nichols, Cambridge, MA – Coach and Accompanist, 2010-2013
  • Macalester College, St. Paul, Minnesota 2006
    Visiting Professor of Music – Music Appreciation and Music History
  • University of St. Thomas, St. Paul, Minnesota 1998
    Adjunct Professor – Music Theory and Music History
  • Southwest State University, Marshall, Minnesota 1991-1996
    Adjunct Professor and Orchestra Director
  • Queen’s College, New York 1986-1987
    Adjunct Professor – Opera Scenes classes: repertoire, casting, vocal coaching
  • Schubert Club Keyboard Museum, St. Paul, Minnesota 1988-1992
    Artist-in-Residence
    Lecture-Recitalist on museum’s historical pianos
    Lecturer on development of piano construction and design
    Teacher of Fortepiano technique, performance practice and repertoire
    Master classes for piano students from University of Minnesota
    Special Programs Host
  • Minnesota Opera -Wesley Balk Institute  1987, 1988 & 1989
    Music Director – Trainer of the Singer-Actor and Vocal Coaches in teaching methods and operatic repertoire.
    Programmer of Opera Scenes – Scenes casting and musical preparation
    Developer of innovative training methods/collaboration with Wesley Balk
  • *Private Piano and Coaching Studio 1976 – present
    London, New York, St. Paul/Minneapolis
    *All other teaching experience

Resume of Teaching Topics

  • Piano and Fortepiano Technique and Repertoire
  • Piano Accompaniment Technique and Repertoire
  • Chamber Music Coaching
  • Orchestral Training
  • Vocal Coaching – Song and Opera
  • Choir Training and Preparation
  • Opera Repertoire Preparation
  • Music History
  • Music Appreciation
  • Music Theory
  • Lectures on Other Musical and Cultural Subjects
  • “Invitation” – Voice and Piano – 2014
  • There is a field” (Rumi) – Choir and Piano – 2014
  • “A Song of Joys” (Whitman) – Choir, Cello and Piano – 2013
  • Canticle 9 (A Song of Praise), Alleluia, Sanctus, Great Amen (Episcopal Service Music) commissioned in 2007 by St. Paul’s Episcopal Church in Owatonna, MN
  • Gloria, Alleluia, Sanctus and Fraction Anthem (Episcopal Service music) commissioned in 2003 by the Episcopal Church of St. John the Evangelist, St. Paul, MN
  • Good Shepherd of the Sheep (Sung Collect – anthem for choir)
  • Creator of the stars of night (anthem – for the dedication of Granlund’s “Aegis”) for choir, brass and organ
  • Go ye therefore (anthem for a capella choir)
  • Psalm 100 (anthem with bells and trumpets)
  • Easter Fanfare and Introit (Why seek ye the living among the dead?)
  • For by water and the Holy Spirit (for children’s choir and bells)
  • Dedication Fanfare (for Wayzata Community Church – brass sextet and timpani)
  • Double Fan-fare (fanfare for St. Michael’s, written for the installation of Fr. John LeVoir)

 

Performance Review by Darrell Rosenbluth in the New York Concert Review

Patricia Kent, soprano, and Roderick Kettlewell, piano
(Note: Roderick Kettlewell is now Roderick Phipps-Kettlewell, after a recent marriage to Marilène Phipps)

2 February, 2002 in Weill Recital Hall at Carnegie Hall

Entering into the sumptuous jewel box that is Weill Hall, one is cued to leave mundane considerations behind and prepare for an experience of heightened and distilled sensitivities, the world of music.  Those who frequent this realm in either professional or audience capacity have the opportunity to escape the streets and dwell in dreams.  One hopes to get something equal to the effort invested, as either performer or listener.  There are concerts when the stars align such that one leaves this dimension entirely and for a blissful span resides in some world that is more beautiful, more profound, than anything imaginable.  Each person will perceive it in his own way but will be transported in an oceanic wave to points of infinite depth and limitless freedom.

Patricia Kent is a soprano who defined such domain in her recital with pianist Roderick Kettlewell.  In a program entitled “La Vie Intérieure,” Ms. Kent led us in both strong and loving example through the gates that most often remain closed to our vision of music’s ultimate purpose: the singing of the human soul.  Through disciplined craft and the plum nectar of her voice, Ms. Kent’s full power of personality and ability to communicate so incisively and broadly, and truly, was of nearly mythic proportion.  As a priestess serves as conduit between mortals and worlds unseen, so did Ms. Kent draw all end points into connection.

I should like to end my review here toward the purpose of underlining the importance and magnitude of the experience.  With that sentiment in mind, I offer some details in the spirit of conscientious journalism.  If you were fortunate enough to have been there, this won’t matter; if you missed it, perhaps this information will be of interest.

Beginning with Debussy’s Ariettes oubliees, Kent caused one to forget the stunning craft of the composer’s discipline for the effects he intended. The entire program was of French song and there was ample time to hear how the language affects this performer and how she deals with its peculiarities when sung.  Throughout, I could detect a theory of sorts being brought to bear on pronouncing vowels and consonants in questionable cases.  That Kent opted for an Italian “e” and “r” needs no lengthy discussion here.  French presents some problems of diction in singing which does not exist when spoken.  Kent opted for one approach; other singers might tend toward another.  Alternatives to Kent’s decision most often result in the nasality that most singers and listeners find offensive (when they aren’t French).  Kent avoided such offense and in so doing was left with a touch of “down home” delivery at times that is perhaps foreign to these composers’ (and poets’) haut manner.  After all, this music is decidedly cuisine classique, not of provencal origin or intent.

Mr. Kettlewell’s contribution was of stunningly beautiful substance, his playing a continuum of every nuance, and replete with the variegated textures and colors that swim and sparkle in this repertoire.  He and Kent have enjoyed collaborative work for many years; their keen and easy compatibility was never in question.

Following the five opening songs, Kettlewell delivered a glittering performance of Ravel’s Sonatine for piano solo.  I’ve rarely heard the Steinway at Weill sound so good as he was able to coax it.  The true spirit of the Mouvement de Menuet, usually mismanaged by emotional fussiness that impinges upon its classic gait, walked elegantly in his care.  Some may have wished for more sweep to the final Anime, but I’m not complaining; I only rue that the final chord did not skew the major and minor modalities as Ravel surely intended.  It’s a bizarre effect, rather skunky, and one gets no second chance.

Poulenc’s seven songs of La courte paille ended the first half of the recital.  A very satisfying set, both performers did it full justice.  Kettlewell could be seen lip-synching along with Le sommeil; apparently he knows more than just the piano part!  Three of the songs can only be described as cute; the poetry is cute, the music is cute, and Kent sang them cute.  Maybe I’m a party-pooper, but I’m no snob.  I felt that Poulenc had failed Ms. Kent.  Such cutesiness seemed a step or ten down from more substantive matters that find such glorious expression in this singer’s artistry.

Poulenc’s Trois poemes de Louise de Vilmorin opened the second half of the concert, followed by the rare treat of Roussel’s Trois melodiesCinq melodies of Duparc ended the program, all masterpieces but crowned surely by his “La vie anterieure,” sung straight from Kent’s heart to our lucky, lucky souls.  I cried with her singing of Chanson triste, grateful for the humanity that Ms. Kent revealed in my self.  This was the greatest gift of all.  Thank you, dear Patricia Kent!

Ms. Kent provided a beautiful program booklet with excellent notes and translations.  An accomplished performer, as is Kettlewell, she hails from the Minneapolis/St. Paul area where she is frequently heard in recital and oratorio and opera.  Keep an eye out for her CD recordings, past and future, and pray that she’ll be back here again soon.  This evening ended with one encore, the lovely Mandoline of Faure.

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