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David Rogers of the Terra Nova Consort
Lutist, Guitarist
- Classical Guitar/Lute Master Class with emphasis
in renaissance and baroque style and interpretation.
- Continuo and Accompaniment Coaching
- Ensemble Coaching
- Performance Practice Presentations:
- 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.)
- 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.
REVIEWS
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"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 |
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"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) |
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"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)
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"Highly Recommended"
Continuo MarketPlace (CD catalog endorsement
of The Italian Archlute by Matthew Redsell, Editor of Continuo Marketplace) |
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"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) |
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"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) |
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"He's a mad dog of the guitar up there"
anonymous Oregon Shakespeare Festival patron |
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"His performances are
always stellar"
David Hochoy, Artistic Director of the Indianapolis
based modern dance company, Dance Kaleidoscope |
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"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 education@terranovaconsort.com.
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