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David Rogers

SOLO GUITARIST DAVID ROGERS Recently termed, ‘a prominent guitarist,’ by the New York Times, David Rogers Fuses classical, jazz, early, and world music elements into powerful, moving and virtuosic performances based on both original compositions and traditional repertoire. The Washington Post has praised his ‘astonishingly florid’ improvisations

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REVIEWS “...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 “...Music to listen to, be amazed by, and to dream upon.” Akustik Gitarre ”A modern master of the classical guitar...David Rogers has a remarkable grasp of 16th Century Baroque guitar music 20th Century Guitar ”...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

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Primary Instrument

Guitar

Willing to teach

Advanced students only.

Credentials/Background

David W. Rogers 265 Brookside Drive Eugene, OR 97405 541-840-7074 zigartha@gmail.com http://www.davidrogersguitar.com/ http://www.ghsstrings.com/users/2582858 MUSICAL EDUCATION 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 Aufbaustudium, 1986-87. 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. CURRENT EMPLOYMENT 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 TEACHING EXPERIENCE 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 Oregon University. 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 therapy program. MASTERCLASSES/WORKSHOPS TAUGHT 4/20/2008 1/29/2008 1/21/2006 3/4/2003 2/2/2001 1/29/2001 12/3/2000 3/3/1996 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, Solo recital 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. PERIODICAL PUBLICATIONS 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. RECORDINGS Hummingbird; original compositions and classical guitar pieces. Released by CD Baby, iTunes, 2010 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 Rogers p.3 RADIO INTERVIEWS/BROADCASTS 2017 featured artist on Desert Island Jazz, KCSM, San Mateo, CA https://kcsm.org/jazzprograms/desertislandcastaways.php?gid=601 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 4-A 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. PRODUCT ENDORSEMENTS GHS Strings, Battle Creek, Michigan. Endorsing artist for their classical guitar string product line. PERFORMING EXPERIENCE 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. ORGANIZATIONAL/DIRECTING EXPERIENCE 1996-2004: Music director/choral conductor, First Congregational Church, Ashland, Oregon. 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. REVIEWS ...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...” Bloomington Herald-Times "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 concert hall... 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 beautifully...” “Highly Recommended” Lithiagraph (from a review of an Oregon Shakespeare Festival production of Federico Garcia Lorca’s Blood Wedding) Continuo MarketPlace (CD catalog endorsement of The Italian Archlute by Matthew Redsell, Editor of Continuo Marketplace) “...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...” Continuo magazine (review of The Italian Archlute by Scott Patterson) Rogers p.5 "...Mr. Rogers plays it, like all the other pieces, with technical grace and musical sensitivity...” “He’s a mad dog of the archlute up there” “His performances are always stellar” “Magnificent Recital”, “Subtle Ecstacy” “He plays incredibly well” Cantus Firmus anonymous Oregon Shakespeare patron David Hochoy, Artistic Director of the Indianapolis based modern dance company, Dance Kaleidoscope Solo Recital Patrons Paul McCandless, OREGON DAVID ROGERS: REFERENCES Dr. Terry Longshore Director of Percussion Studies Southern Oregon University http://www.terrylongshore.com/ longshore@sou.edu (541) 552-6548 Mr. Todd Barton Music Director Oregon Shakespeare Festival http://www.toddbarton.com/index2.asp bartonmusic@mac.com (541) 488-2492 Mr. Matt Dorris (former student) 818 S. Terry St. #84 Longmont, CO 80501 dorrismatt@gmail.com (303) 495-5050 Dr. Fredna Grimland, Director of Music Education Southern Oregon University http://www.sou.edu/MUSIC/grimland.html grimlanf@sou.edu

Clinic/Workshop Information

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Discography

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