Willing to teach
Advanced students only.
David W. Rogers 265 Brookside Drive
Eugene, OR 97405 541-840-7074
Indiana University, Bloomington, Indiana
Doctoral program in Early Music/Lute, 1988-91.
Completed major coursework for the DM degree.
Studied lute and historical performance practice under Thomas Binkley, viola da
gamba with Wendy Gillespie, performed in the IU Baroque Orchestra under Stanley
Ritchie and in the Renaissance Music Ensemble under Eva Legêne. Graduate Assistant
and Scholarship Recipient.
Schola Cantorum Basiliensis, Basel, Switzerland
Studied lute and continuo under Eugen Dombois and Hopkinson Smith, medieval
music under Crawford Young.
Oakland University, Rochester, Michigan
Master of Music in Early Music/Lute, 1986 Studied lute under Lyle Nordstrom.
Wayne State University, Detroit, Michigan
Bachelor of Music in Guitar Performance, 1984 Studied guitar under Joseph Fava.
Classical/Jazz Guitar Instructor, (2010-present) Shedd Institute, Eugene, Oregon
Guitar Faculty: Classical Guitar, (1997-2009), Southern Oregon University, Ashland,
Oregon. Undergraduate and Graduate Faculty.
Guitarist and Lutenist (1992-present) Oregon Shakespeare Festival, Ashland, Oregon
1997-2009: Instructor for classical guitar and historical plucked strings studies at
Southern Oregon University.
1995: Lecturer in music department, (Introduction to Western Music), Southern
1984-86: Guitar and lute instructor, Art Center Music School, Detroit, Michigan.
1984-86: New Center Mental Health Center, Detroit, Michigan. Taught guitar in music
1/21/2006 3/4/2003 2/2/2001
Bloomington Guitar Society, Bloomington, Indiana. workshop on reading historical lute
tablature for modern guitarists. Workshop presented as part of the 2008 Bloomington
Early Music Festival. Also performed solo recital and played archlute continuo in
the festival’s production of Alessandro Scarlatti’s opera, Tigrane. Interlochen Center for
the Arts residential high school, Michigan. Master Class and Solo recital.
Wayne State University, Detroit. Master Class and Solo recital University of Idaho,
Boise. Master Class and Solo recita1 University of Southern California. Master Class,
and performance practice presentations for Classical Guitar, Early Music departments
and the Los Angeles chapter of American String Teachers Association.
San Francisco Conservatory, Master Class for classical guitar students
University of Indianapolis. Master Class and Solo recital Willamette University, Salem,
Oregon; Master Class, Solo recital, and Baroque style coach for singers in Willamette
University's production of Monteverdi’s L'incoronazione di Poppea.
2007 Akustic Gitarre issue 6/07 (Germany’s leading guitar periodical). My
composition, The Lone Wild Bird, was included in that issue’s accompanying CD and
given a long review as well (available upon request).
2008 Fingerstyle Guitar Magazine issue #67. Printing of my composition, October, as
well as a ‘master workshop’ that I wrote describing how to play the piece. An audio
and video recording of October was included in that issue’s accompanying CD.
Hummingbird; original compositions and classical guitar pieces. Released by CD Baby,
The Lone Wild Bird; 19th century American hymns and spirituals for solo guitar.
Released by Callisto Records, Bologna, Italy, 2005.
3 Guitars: solos for vihuela, baroque guitar, and classic guitar. Released by Callisto
Records, April 2002.
‘Baylado’ Music of Renaissance Spain. Dorian Records, 2001. Renaissance en Provence.
DOR-90269. Dorian Records, 1999.
The Italian Archlute: Focus Records. Solo recording 1993.
Focus catalog maintained by IU Press, Bloomington, Indiana.
Rogers p. 2
2017 featured artist on Desert Island Jazz, KCSM, San Mateo, CA
2009 Wisconsin Public Radio-Superior, Live interview-performance in support of a solo
concert in Duluth, MN.
2009 St. Joseph Music Foundation (non-profit radio station based in St. Joseph
Missouri), Live interview in support of a solo performance in St, Joseph.
2005 Performance Today, Live performance-interview in NPR Washington D.C. Studio
2004 Performance Today, NPR national broadcast, with Terra Nova Consort from a
concert at the Smithsonian Institution, Washington D.C.
2002 Performance Today, NPR national broadcast, with Terra Nova Consort. 2001 La
Guitarra, KCBX-NPR, broadcast from San Luis Obisbo, California; Reed Gilchrist and
Hadley Osran producers. December 16th program devoted to my solo recordings and
my ensemble’s second Dorian release.
2000 Broadcast of live recording of Terra Nova Consort performance at Tage Alter und
Neuer Musik, Regensburg by Bayrische Rundfunk (Bavarian radio) 2000 May broadcast
of Renaissance en Provence DOR-90269 by Bayrische Rundfunk (Bavarian radio).
1999 Millenium of Music (nationally syndicated National Public Radio music program).
Broadcast of Renaissance en Provence Dorian CD.
1994 Harmonia. (nationally syndicated National Public Radio music program).
Broadcast of The Italian Archlute, Focus Records.
1993 Harmonia Interview and Broadcast of The Italian Archlute, Focus Records.
GHS Strings, Battle Creek, Michigan. Endorsing artist for their classical guitar string
1999-present: Numerous performances as an ensemble player or soloist in concerts
for major presenters throughout the United States, the United Kingdom, and in
Germany at the Tage Alter und Neuer Music festival, Regensburg, Germany.
1992-present: Oregon Shakespeare Festival. Duties include greenshow and play
performances, and directing and performing in noon concerts.
1996-2004: Music director/choral conductor, First Congregational Church, Ashland,
1999: Music Director for a fully staged production of Pergolesi's opera, La Serva
Padrona, Performed by the Jefferson Baroque Orchestra, Ashland, Oregon. 1996-1998:
Board of Directors of the Lute Society of America.
1991: Director of 1991 Southern Utah Early Music and Dance Workshop
1991: Assistant music director, Utah Shakespearean Festival.
...A Prominent Guitarist...
New York Times
...Playing the vihuela (a guitar relative), David Rogers held everything together with a
few poignant plucks, vigorous strumming and the occasional astonishingly florid solo...
Washington Post “...first rate instrumental artistry...” Classics today.com
"...David Rogers played his vihuela (a 16th-century precursor to the guitar) not in the
tasteful, restrained way of early music groups, but like a lead guitarist in a rock band.
He laced the likes of 'De el pobo' with improvised, speedy solos way up into the wailing
region of the fingerboard..."
Milwaukee Journal Sentinel
“...Music to listen to, be amazed by, and to dream upon.”
Akustik Gitarre (Germany)
“...both seductive and stellar playing...”
"A modern master of the classical guitar...David Rogers has a remarkable grasp of
16th Century Baroque guitar music
20th Century Guitar ...Rogers' lute sprinkled beautifully modulated notes about the
Chico News and Review
“Guitarist David Rogers displayed dual talents by performing his own transcription of
Bach’s ‘Violin Partita No. 2 in D Minor.’ The extraordinary fit between the contemplative
textures of the writing and the guitar’s expressive voice combined with long shafts of
late afternoon sun to create a striking aural and visual effect.”
The Kalamazoo Gazette
“...Clearly, Rogers is an accomplished player who handles this music with skill. His
clear execution of the formidable bass lines found in the music of Gianoncelli is
particularly noteworthy. Gianoncelli’s full use of the diapasons for melodic writing
places no small demand on the performer and Rogers’ technique is up to the task (his
performance of Baletti Primo-Quinto is the high point of the CD). His musicality is
apparent throughout, particularly in his performance of Zamboni’s Sonata No.10...”
Lute Society of America Quarterly (review of The Italian Archlute)
“...Guitarist David Rogers looks smashing as a Spaniard, and as always plays
(from a review of an Oregon Shakespeare Festival production of Federico Garcia
Lorca’s Blood Wedding)
(CD catalog endorsement of The Italian Archlute by Matthew Redsell, Editor of
“...The music on the album is by Kapsperger, Gianoncelli, and Zamboni and gives a
good picture of the development of Italian lute music in the course of the Baroque.
Rogers plays on an archlute, which allows for a more sonorous bass than the ordinary
lute. Kapsperger’s Toccatas, Gagliardas and Correntes have all the fire and
changeability of the early Italian baroque; Gianoncelli’s ‘Tastegiatas’ and dances of
1650 are in a slightly later style which emphasizes a trio sonata like texture (as is
pointed out in Rogers’ own helpful notes); while Zamboni’s Suite from 1718 is in a
Weiss-like high Baroque style with hints of galante lightness and elegance. Rogers is at
his best in Kapsperger’s improvisatory music, through which he exhibits a good feeling
for pacing and for employing the unique resonances of his instrument. The faster
dances are made lively by inventive rhythmic shadings...”
(review of The Italian Archlute by Scott Patterson)
"...Mr. Rogers plays it, like all the other pieces, with technical grace and musical
“He’s a mad dog of the archlute up there”
“His performances are always stellar”
“Magnificent Recital”, “Subtle Ecstacy”
“He plays incredibly well”
anonymous Oregon Shakespeare patron
David Hochoy, Artistic Director of the Indianapolis based modern dance company,
Solo Recital Patrons
Paul McCandless, OREGON
DAVID ROGERS: REFERENCES
Dr. Terry Longshore
Director of Percussion Studies Southern Oregon University
Mr. Todd Barton
Oregon Shakespeare Festival http://www.toddbarton.com/index2.asp
Mr. Matt Dorris (former student) 818 S. Terry St. #84
Longmont, CO 80501 firstname.lastname@example.org
Dr. Fredna Grimland,
Director of Music Education
Southern Oregon University http://www.sou.edu/MUSIC/grimland.html