David Rogers, Classical crossover guitar

Description

SOLO GUITARIST DAVID ROGERS
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.
The Washington Post has praised his ‘astonishingly florid’ improvisations. He has been
called a 'modern master’ of the classical guitar' by 20th Century Guitar. Classics
today.com has praised his ‘first rate instrumental artistry,’ and the Lute Society of
America Quarterly has called his technique ‘formidable.’
He is an endorsing artist ... for GHS Strings and his music has been featured in major guitar magazines such as Fingerstyle Guitar in the United States and Akustic Gitarre, in Germany. His performances have been broadcast on American National Public Radio and Bayrische Rundfunk, including both the nationally syndicated Performance Today (live performance/interview in Washington D.C. NPR studio 4A) and Harmonia programs. David has recorded for Dorian, Callisto and Focus Recordings. He has given recitals and conducted master classes throughout North America, including performances and classes at the San Francisco Conservatory and the University of Southern California and The Interlochen National Arts Camp.
David has studied historical plucked strings with Hopkinson Smith and Eugen Dombois at the Schola Cantorum Basiliensis in Basel, Switzerland; with Thomas Binkley at Indiana University; and with Lyle Nordstrom at Oakland University. He has studied guitar with Joseph Fava at Wayne State University. David was a musician with the Oregon Shakespeare Festival for 18 years and taught at Southern Oregon University for 13 years.
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
“…The guitar solos were also outstanding with Rogers performing arrangements of J.S. Bach and Leonard Cohen’s Hallelujah, among other lovely pieces…”
Eleni Sakellis,
The National Herald, NYC
“…"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. He laced the likes of 'De el pobo' with improvised, speedy solos way up into the wailing region of the fingerboard…"
Milwaukee Journal Sentinel
“…first rate instrumental artistry…”
Classics today.com
…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…”
Lithiagraph
(from a review of an Oregon Shakespeare Festival production of
Federico Garcia Lorca’s Blood Wedding)
“Highly Recommended”
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)
"…Mr. Rogers plays it, like all the other pieces, with technical grace and musical sensitivity…”
Cantus Firmus
(Review of Del Rosal Sale La Rosa)
“He’s a mad dog of the archlute up there”
anonymous Oregon Shakespeare patron
“Magnificent Recital” “Subtle Ecstasy”
Solo Recital Patrons
“His performances are always stellar”
David Hochoy, Artistic Director of the Indianapolis based modern dance company, Dance Kaleidoscope
“He plays incredibly well” Paul McCandless, OREGON
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Set-List

Folia
After the Goldrush
Paint it Black
Winter Sunrise
BWV 1006a
Here, There and Everywhere
Hey Jude
I Will
Virgilio
Recuerdos de la Alhambra
Asturias (Leyenda)
and many, many more...

Biography

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 and traditional repertoire.
The Washington Post has praised his ‘astonishingly florid’ improvisations. He has been called a 'modern master’ of the classical guitar' by 20th Century Guitar. Classics today.com has praised his ‘first rate instrumental artistry,’ and the Lute Society of America Quarterly has called his technique ‘formidable.’
He is an endorsing artist for GHS ... Strings and his music has been featured in major guitar magazines such as Fingerstyle Guitar in the United States and Akustic Gitarre, in Germany. His performances have been broadcast on American National Public Radio and Bayrische Rundfunk, including both the nationally syndicated Performance Today (live performance/interview in Washington D.C. NPR studio 4A) and Harmonia programs. David has recorded for Dorian, Callisto and Focus Recordings. He has given recitals and conducted master classes throughout North America, including performances and classes at the San Francisco Conservatory and the University of Southern California and The Interlochen National Arts Camp.
David has studied historical plucked strings with Hopkinson Smith and Eugen Dombois at the Schola Cantorum Basiliensis in Basel, Switzerland; with Thomas Binkley at Indiana University; and with Lyle Nordstrom at Oakland University. He has studied guitar with Joseph Fava at Wayne State University. David was a musician with the Oregon Shakespeare Festival for 18 years and taught at Southern Oregon University for 13 years.
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Reviews     (2 Reviews)

Experience

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 Recipie ... nt.
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.
Rogers p. 2
1984-86: New Center Mental Health Center, Detroit, Michigan. Taught guitar in music therapy program.
MASTERCLASSES/WORKSHOPS TAUGHT
4/20/2008 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.
1/29/2008 Interlochen Center for the Arts residential high school, Michigan. Master Class and Solo recital.
1/21/2006 Wayne State University, Detroit. Master Class and Solo recital
3/4/2003 University of Idaho, Boise. Master Class and Solo recita1
2/2/2001 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.
1/29/2001 San Francisco Conservatory, Master Class for classical guitar students
12/3/2000 University of Indianapolis. Master Class and Solo recital
3/3/1996 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.3
RADIO BROADCASTS
2017 KCSM, Featured guest on Desert Island Jazz on the Bay Area Jazz station
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.
Rogers p.4
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
Rogers p.5
“…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…”
Lithiagraph
(from a review of an Oregon Shakespeare Festival production of Federico Garcia Lorca’s Blood Wedding)
“Highly Recommended”
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. 6
"…Mr. Rogers plays it, like all the other pieces, with technical grace and musical sensitivity…”
Cantus Firmus
“He’s a mad dog of the archlute up there”
anonymous Oregon Shakespeare
patron
“His performances are always stellar”
David Hochoy, Artistic Director of the Indianapolis based modern dance company, Dance Kaleidoscope
“Magnificent Recital”, “Subtle Ecstacy”
Solo Recital Patrons
“He plays incredibly well” Paul McCandless, OREGON
Rogers, p. 7
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
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Previous Clients

21 years working as a musician in professional equity theater. Numerous corporate/event engagements, etc.

Suitable for

Bar / Bat Mitzvah Birthday Party (Adult) Casinos Christening Christmas Party Cocktail Party / Drinks Reception Corporate Event Dinner Party Jewish Wedding Private Party Product Launch / Promotion Trade Show / Exhibitions