Educational Programs

David Rogers of the Terra Nova Consort
Lutist, Guitarist

  1. Classical Guitar/Lute Master Class with emphasis in renaissance and baroque style and interpretation.
  2. Continuo and Accompaniment Coaching
  3. Ensemble Coaching
  4. Performance Practice Presentations:
    1. The Role of Ornamentation for Rhythmic Emphasis and Agogic Accent in the J.S. Bach third lute suite (BWV 995)/ fifth 'Cello suite  (BWV 1011), (a study in French Baroque ornamentation.)
    2. Luis Milan and El Maestro: An examination of the sixteenth century instrumental fantasia and Romance and Song accompaniment.

About David Rogers

David Rogers is lutenist and guitarist with the Terra Nova Consort, ensemble in residence at the Oregon Shakespeare Festival and Dorian recording artists. Mr. Rogers is also director of the guitar division at Southern Oregon University and maintains an active solo career as a classical guitarist and lutenist. As "lead" guitarist with the Terra Nova Consort, he recently made his European debut at the Tage Alter und Neuer Musik Regensburg 2000 festival.  The Lute Society of America Quarterly has called his technique "formidable." His first solo CD, The Italian Archlute, has been "highly recommended" by Continuo Magazine. His solo and ensemble performances have been broadcast on National Public Radio and Bayrische Rundfunk. As a continuo player he has performed under the direction of Andrew Parrott. Mr. Rogers has recorded for Dorian Recordings and Focus and has given recitals and master classes throughout the country, including the San Francisco Conservatory and the University of Southern California.

He has also performed with the Seattle Baroque Orchestra, Cantores in Ecclesia, Sospirando, and with his wife Nancy Elliott in the ensemble Duo Ruggiero among many others. In addition, he is music director at the First Congregational Church, Ashland, Oregon.    

Mr. Rogers has studied historical plucked strings and performance practice with Hopkinson Smith and Eugen Dombois at the Schola Cantorum Basiliensis in Basel, Switzerland, Thomas Binkley at Indiana University, and Lyle Nordstrom at Oakland University, as well as guitar with Joseph Fava at Wayne State University.


"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)

"Ludovico was a harpist in the service of King Ferdinand and was renowned for the unusual harmonies and chromatics of his playing.  Mudarra's impression of Ludovico's playing  rather suggests mystical Renaissance 'New Age' (I can't help wondering if it was a deliberate choice to place this cue on 13), and 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 guitar up there"

anonymous Oregon Shakespeare Festival patron

"His performances are always stellar"

David Hochoy, Artistic Director of the Indianapolis based modern dance company, Dance Kaleidoscope

"He totally rocks -- a phenomenal guitarist"

Todd Barton, Music Director, Oregon Shakespeare Festival

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For more information on The Terra Nova Consort educational programs, contact Pat O'Scannell at

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