"Elizabeth and Raymond Chenault: The World's Premiere Duo-Organ Team"
(The Atlanta Journal and Constitution)
"The Chenaults' mission--to advocate for an often-overlooked genre--is admirable and necessary, and they carried out their mission with grace, skill, and enthusiasm . . . and demonstrated the couple's technical prowess." (KCMETROPOLIS.org Kansas City's Online Journal of the Arts)
"Ray and Beth took Columbus GA by storm yesterday. Wonderful concert. . great selections. . gorgeously registered and played. Of course, their graciousness and Ray's remarks helped put the audience at ease and increased their enjoyment. They certainly 'made friends for the organ' yesterday and we were thrilled in all regards." (Presenter: Rick McKnight, Dean, Columbus GA Chapter, AGO -- River Center for the Performing Arts)
"Elizabeth and Raymond Chenault are noted practitioners of the art of two performers/one organ"
(The New York Times)
(The Washington Post)
"A different kind of organ recital"
(Richmond New Leader)
"Virtuosic, non-stop attention . . . the Chenaults showed mastery of the various idioms"
(The Los Angeles Times)
"It was well attended, enthusiastically received and made to order for the midnight hour. The audience ate it up." (The Charleston Evening Post News and Courier)
"bold and colorful programming"
(The American Organist, October, 2007)
"The Chenaults captivated an audience of more than 300 people. The skilled duo-organists left the audience begging for more with a rousing rendition of 'Stars and Stripes Forever.' There's nothing stuffy about these fine musicians." (The Atlanta Journal and Constitution)
"Elizabeth and Raymond Chenault enjoy the considerable benefit of a unique place in the profession. No other duo is as regularly booked, is as fluent in the arguably restricted body of literature, nor has contributed to that literature as much through commissions and dedications. Novelty, however, only reaches so far and, once beyond that, one is gratified to hear the underlying technical and interpretative talents that are exponentiated when such fine artists collaborate." (The American Organist, review of AGO national convention 1992)
"The Chenaults are consummate performers. They know how to relate to an audience, choose repertoire to reach them, and have an elegant, unaffected stage presence. Their tandem negotiation of the console is handled with efficiency and ease. The audience was in the palms of their hands throughout the evening."
(The American Organist, June, 2004)
"CHENAULT DUO PACKS TWICE THE PUNCH . . . the Chenaults made tasteful and judicious use of the organ's bountiful resources . . . and brought the audience to its feet." (The Birmingham News)
"Much beautiful sound which took full advantage of the wide range of sonorities and the impressive skills of the Chenaults." (Sarasota Herald Tribune)
"The playing here is nothing short of electrifying. There is a clarity of purpose and depth of musicality in every selection. There is nothing superficial in the music or their performance. Their handling of the organ in Washington National Cathedral is first-rate, making full dramatic use of its resources and generous acoustics. A recording I will enjoy for years to come!"
(American Record Guide, Jan./Feb., 1996)
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Elizabeth and Raymond Chenault, duo-organists, have performed extensively throughout the United States and in Europe. Specializing in works written for two performers, the Chenaults have commissioned and premiered over forty organ duets. Because of their unique and refreshing repertoire, combined with their exciting and sensitive artistry, the Chenaults are in demand as recitalists and have established themselves as America's leading duo-organists.
Their duet career began in 1979 when Arthur Wills of England's Ely Cathedral composed Toccata for Two for them, followed by John Rutter's Variations on An Easter Theme in 1982. They have been featured recitalists at numerous national and regional conventions of the American Guild of Organists, the Association of Anglican Musicians, and at the Spreckels Organ Pavilion in San Diego, Helzberg Hall (Kauffman Center for the Performing Arts, Kansas City, Missouri), the Crystal Cathedral, the Mormon Tabernacle, Washington National Cathedral, St. Paul's Cathedral (London), York Minster Cathedral (England) and the Piccolo Spoleto Festival. The Chenaults have commissioned duets from Ronald Arnatt, David Briggs, Charles Callahan, Melinda Clark, Pamela Decker, Alan Gibbs, Naji Hakim, Gerre Hancock, Gaston Litaize, Douglas Major, Jefferson McConnaughey, Philip Moore, Bruce Neswick, Dorothy Papadakos, Stephen Paulus, Craig Phillips, Daniel Pinkham, Robert Powell, Myron Roberts, Richard Shephard, Conrad Susa, Paul Lindsley Thomas and Nicholas White. The Chenaults have arranged several pieces for organ duet, including several popular Christmas carols, Sousa's "The Stars and Stripes Forever," and a medley of Andrew Lloyd Webber's "Phantom of the Opera."
The Chenaults have been featured on "Pipedreams" and record on the Gothic Record Label. Their premiere recording 20th Century Organ Music for Two was recorded at Roswell United Methodist Church (Georgia), 20th Century Organ Music for Two, Volume II was recorded at Washington Cathedral, and their third CD, Christmas at Spivey Hall, was recorded at Clayton State College, Morrow, Georgia. Several volumes of The Chenault Organ Duet Library Collection have been published by Warner Brothers and may be purchased directly from the Chenaults by using the order form on the left or via email at email@example.com.
The Chenaults were featured at the 1992 AGO Convention in Atlanta and on "Performance Today," National Public Radio's daily classical music program, which was broadcast live from Spivey Hall in Morrow, Georgia. The Chenault duo's most recent duet premieres include "An American Suite" by Melinda Clark for the Georgia Music Teachers' Association Conference (2012), and "Conditor Alme Siderum" by Pamela Decker for the Region IV AGO Convention (2013).
"No one can contest the spectacular facility, musicianship, and ensemble that these two offer in every musical style represented. Amazing artistry and technique, creative and
diverse programming, and an accurate sense of what the
public -- from casual listeners to highly trained church musicians -- will enjoy and appreciate."
(The Journal of the Association of Anglican Musicians)