For Musicians

Mentors & Guest Faculty

The National Music Festival Mentor Faculty consists of many of the finest musicians in the world. They have been selected not only for their superb performing and teaching abilities, but because they are people who have established themselves in the music field as well as managed to create a meaningful, well-rounded life.  Read the impressive biographies of our mentors and guest artists below.

National Music Festival Mentors

Jennifer Parker-Harley, Flute

Jennifer Parker-Harley, flute, is Associate Professor of Flute at the University of South Carolina, has been with the National Music Festival since its inaugural season in 2011. An experienced orchestral flutist, she was a member of the Columbus Symphony Orchestra in Ohio for eight years before moving to South Carolina.

Jennifer has a special interest in the music of our time and has premiered or commissioned works by composers including Reginald Bain, Cynthia Folio, Stephen Gorbos, Payton McDonald and Valerie Coleman. She spent the spring semester of 2016 on sabbatical to study jazz improvisation.

Teaching is an especially important part of Dr. Parker-Harley’s musical life. She has an accomplished studio at USC; recent graduates have gone on to study at such prestigious institutions as the Cincinnati College-Conservatory, the Peabody Institute, the University of Texas, the Cleveland Institute, Northwestern University and the Manhattan School of Music. Her students have also been prizewinners in competitions of the National Flute Association, the Florida Flute Association, the Kentucky Flute Society, the Central Ohio Flute Association and the South Carolina Flute Society.

Dr. Parker-Harley is an honors graduate of the Interlochen Arts Academy, holds a bachelor’s degree and a performer’s certificate from the Eastman School of Music, and graduate degrees from Michigan State University and the University of Cincinnati. She is privileged to have studied with wonderful teachers: Kay Borkowski, Jaqueline Hofto, Bonita Boyd, Richard Sherman, Dr. Bradley Garner and Jack Wellbaum.

Past teaching posts include positions at Wright State University, Goshen College, Otterbein College, and Ohio University. In the summers, after leaving Chestertown, Jennifer is on the faculty of the Interlochen Arts Camp and the Vianden Festival in Luxembourg. Her first solo CD, Words and Music, which includes flute music inspired by poetry, was released by the Titanic label in April, 2016.


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Jared Hauser, Oboe

Jared Hauser, oboe, has been described as “melodious and spontaneous” by ArtsNash, and as a “sensitive, elegant soloist” with a “subtle refined style” by Gramaphone Magazine. Appointed to the faculty of the Blair School of Music at Vanderbilt University in 2008, Hauser maintains an international stature as performer and teacher. He has commissioned, premiered and recorded numerous works by many of today’s brightest composers., including the premier of Monk’s Oboe by Libby Larsen, Stan Link’s Dispatches from Devereux Slough, a consortium premier of Crossroads by John Harbison, and Paul Moravec’s new Trio. Hauser is currently on the teaching faculties at the Interlochen Center for the Arts and the National Music Festival; performs with the Blair Woodwind Quintet, and the Nashville based contemporary music group INTERECTION; and performs on period oboes with Music City Baroque and other early music groups across the southeastern United States.

An active recording artist, Hauser has released several highly acclaimed CDs for BGR and Naxos, and can also be heard on recordings from Koch International, AUR, Gemini and Eroica Records. Upcoming releases include concerti by J.S. Bach, works by Robert Schumann, and contemporary works for oboe and string quartet.

Prior posts include principal oboe of the Orlando Philharmonic and the Palm Beach Opera; faculty at the Lynn Conservatory of Music, SUNY-Potsdam, and the Hot Springs Festival; and he has performed with the orchestras of Detroit, Atlanta, Houston, and Nashville. With degrees from the Oberlin Conservatory, Rice University, University of Michigan, and Michigan State University, Hauser’s principal teachers were James Caldwell, Alex Klein, Robert Atherholt, Dan Stolper and Harry Sargous. He is a Yamaha Artist and a founding board member of the National Music Festival.


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Thomas Parchman, Clarinet

Thomas Parchman, clarinet, studied with the finest clarinet faculty in the country, including Robert Marcellus, Clark Brody and Larry Combs. As a member of the Chicago Civic Orchestra, he had weekly sectionals with members of the CSO section, as well as masterclasses. Mr. Parchman’s first full-time orchestra position was as Bass Clarinet for the Orquesta Sinfonica de Xalapa, Mexico. One of the oldest orchestras in Mexico, it performed 42 weeks a year mostly programs of large symphonic works, broadcast nationally. The orchestra toured nationally and made several recordings. After a short time in the orchestra, he was promoted to Assistant Principal and Bass Clarinet. Mr. Parchman left Xalapa to become of member of the Long Beach Symphony and the Long Beach Grand Opera. During this time he was accepted into the doctoral program at the University of Southern California, where he studied clarinet with Mitchell Lurie and saxophone with Douglas Masek. He moved to Maine in 1984 as a result of a joint search between the University of Southern Maine and the Portland Symphony Orchestra. Dr. Parchman holds the rank of Professor at USM, and has been the Principal Clarinetist with the orchestra since his arrival. As Principal Clarinet, he has performed the Mozart Concerto, Copland Concerto, Brahms opus 120 [arr. Berio], and the Bassi Rigoletto Fantasy. Dr. Parchman also holds the Bass/3rd Clarinet position in the Rhode Island Philharmonic, and is a member of the Opera Maine orchestra. Dr. Parchman is active in developing music in the Portland community, taking part in joint projects between the Portland Symphony and Portland schools, performing in small ensemble concerts, and giving demonstrations, clinics and master classes. His students are active performers and teachers in their communities, ranging from teaching in the schools of northern Maine to performing as a member of the Philadelphia Orchestra.


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Jeffrey Keesecker, Bassoon

Jeffrey Keesecker, bassoon, is a native of Sarasota, Florida. He is currently Professor of Bassoon at Florida State University, and is Principal Bassoon of the Tallahassee and Pensacola Symphonies. He received his Master’s degree from The Juilliard School and Bachelor of Music from the Florida State University, College of Music. He has served as principal bassoonist of the Florida West Coast Symphony (now the Sarasota Orchestra), The Florida Orchestra, I Solisti New York, The Dorian Consort, and the Saint Gallen Sinfonie and Saint Gallen Opera (Switzerland). He has held teaching positions at the University of South Florida, the Jugendmusikschule der Stadt Saint Gallen, as a Valade Fellow at the Interlochen Center for the Arts, and at the Utah Music Festival. He is featured on a number of recordings, including his solo compact dics, Bassoon Music of the Americas with pianist Hélène Grimaud. His major teachers include Steven Maxym, William Winstead, Sol Schoenbach, and Trevor Cramer.


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Michelle Stebleton, Horn

Michelle Stebleton, horn, is an Associate Professor of Horn and member of the Florida State Brass Quintet and the Tallahassee Symphony Orchestra. Since joining  FSU in 1990, she has been awarded the Teaching Incentive Program Award, an Undergraduate Teaching Award, and several large research grants. Through these grants she recorded two compact discs available on MSR Classics: The Horn Works of Paul Basler and MirrorImage at the Opera, a recording of her horn duo with Lisa Bontrager. The Florida State Brass Quintet’s CD Strophes of the Night and Dawn is available through Crystal Records.
Ms. Stebleton, a Holton-Leblanc Artist Clinician, is a six-time prize winner in various divisions of the American Horn Competition. She has traveled to twenty-six countries as a chamber artist and clinician and performs regularly as a soloist and clinician in Paraguay, The Czech Republic, and under the baton of Philipe Entremont in the bi-annual Music Festival Orchestra in the Dominican Republic.
At FSU Professor Stebleton maintains a horn studio of about thirty students. She offers daily Fundamentals Class, weekly Studio Classes, and Horn Choir. In addition, she teaches the Horn component of Solo Brass Literature. Actively performing, she is regularly featured at the International Horn Society Symposiums and Southeast Horn Workshops. She currently serves as on the Advisory Council of the International Horn Society.
Professor Stebleton received B.M. and M.M. degrees from the University of Michigan, where she studied with Louis J. Stout and Lowell Greer. She holds a diploma from the Prague Mozart Academy.


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Michael Kris, Trombone & Tuba

Michael-KrisMichael Kris, trombone, holds positions with Eastern Music Festival, North Carolina Opera Orchestra, Carolina Ballet Orchestra, North Carolina Jazz Repertory Orchestra and Chamber Orchestra of the Triangle. He is a former member of the North Carolina Symphony, serving as both Principal Trombone and Second Trombone and has performed with several orchestras throughout the eastern United States.

Mr. Kris is an active soloist and clinician performing and teaching internationally. Most recently, he presented concerts and master classes in London at Kings College Chapel, Universität Mozarteum in Austria, and at the Hochschule für Musik und Theater in Rostock, Germany. At the University of North Carolina, Mr. Kris is a Senior Lecturer in Music teaching low brass and chamber music, and he is also part of the teaching faculty at Duke University. His research focuses on the use of trombone in ensemble music of the late Renaissance and chamber music of the early Baroque. He has worked with Tony Bennett, Natalie Cole, Ray Charles, and has been invited to perform with the Cincinnati Symphony and Charlotte Symphony.

Mr. Kris attended McNeese State University earning a Bachelor of Music Education followed by a Master of Music in Trombone Performance at the Cincinnati College/Conservatory of Music. His principal teachers are William G. Rose and Tony Chipurn, Principal Trombone (retired) of the Cincinnati Symphony Orchestra.

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Sammy Marshall, Collaborative Piano

Sammy Marshall (Collaborative Piano), a retired Sergeant Major in the U.S. Army, served as pianist for the Soldiers’ Chorus of The United States Army Field Band, Washington, D.C. for 12 years. In this position he performed with the London and National Symphony Orchestras, the Boston and Cincinnati Pops and the symphonies of Phoenix, Nashville, Richmond and New Haven. Conductors he has worked with include Douglas Cox, Erich Kunzel, Keith Lockhart, Albert-George Schram and George Manahan. Prior to joining the military, Mr. Marshall maintained a rigorous accompanying schedule in some of the most elite voice studios in New York. Renowned teachers such as Cynthia Hoffman, Maitland Peters and Metropolitan Opera greats Mignon Dunne, Gabor Corelli, Spiro Malas and Nico Castel were amongst his clientele. His choral accompanying collaborations include such conductors as Westin Noble, Paul Salamunovich and James Jordan.  Mr. Marshall has presented two recitals at the National Music Festival.

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Susan Bennett Brady, Harp

susan-headshot-2-300x300Susan Bennett Brady received her Bachelor of Music in Harp Performance (1983) and a Certificate of Special Studies (1984) from the esteemed Curtis Institute of Music in Philadelphia. Her major teachers include Marilyn Costello, former principal harpist with the Philadelphia Orchestra and Marjorie Tyre, former principal harpist with the Metropolitan Opera Orchestra, Kathryn Case Holm and Frances Miller.

Susan Bennett Brady served as the faculty harpist at the Brevard Music Center in North Carolina from 1991 to 2001. Her responsibilities there included performing as principal harpist in the Brevard Music Center Orchestra, teaching and coaching the harp students in solo and orchestral literature, performing chamber music, directing the harp ensemble and delivering numerous harp related workshops.

Ms. Brady has toured Europe extensively, performing as a soloist, and in chamber and orchestral capacities. She continues to work in the Atlanta area as a free-lance harpist, with an emphasis on choral accompaniment and orchestral playing. She is founder and director of the Atlanta Harp Ensemble, for which she writes and arranges music. As a teacher, Ms. Brady coordinates more than twenty students with weekly lessons, harp ensembles and informational harp workshops, making her studio one of the highest regarded private harp studios in the country. Ms. Brady is highly sought after as a teacher and workshop technician for her innovative ideas and great success with students of all ages. Her students have participated in the Atlanta Symphony Youth Orchestra, regional and school orchestras; won regional and national competitions and have
attended some of the most prestigious music schools in the country. Many of her former students are now well-regarded professional harpists and teachers in their own right. A member of the American Harp Society, Mrs. Brady has delivered numerous master classes, workshops and solo recitals within the harp community in the Atlanta area and nationally. The Atlanta Harp Ensemble, under her direction, presented at the national AHS conference in New Orleans in 2015, selected by audition one of the top three harp ensembles in the country

Ms. Brady is also co-founder and artist faculty for the highly successful Young Artist’s Harp Seminar and Competition which began in 2002. YAHS is a two-week annual summer program open to harpists nationwide, age 12 to 26 who want to focus entirely on the harp without distraction. This program is designed to improve performance skills and practice habits
and intensify preparation for solo performances, orchestra auditions and competitions and is currently in its fourth year. Through her work at the Young Artist’s Harp Seminar, Ms. Brady has impacted the lives of countless ambitious young harpists, now realizing their dreams as acclaimed harp professionals.


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Camilo Carrara, Guitar

Camilo Carrara, guitar, holds a degree in classical guitar from the School of Communication and Arts of the University of São Paulo. He also studied at the Department of Linguistics where he is presently finishing a Masters Degree in Strategic Marketing Management at the São Paulo University School of Economics and Administration.

His diverse career includes being conductor and music producer, performer on guitar, mandolin and other strummed instruments, arranger, composer and teacher. His impressive discography consists of more than sixty solo and collaborative ensemble compact discs recordings.

Since 2011 Mr. Carrara has been the producer and arranger of the CD and DVD of the “HSBC Christmas” show–an event that brings together thousands of people around the Palace Avenue, in the city center of Curitiba, state of Paraná, in Brazil.

Carrara holds a professorship at the Faculty Cantareira in São Paulo, and at the Music in the Mountains Festival, in Poços de Caldas, Minas Gerais. For five years he has been the guitar teacher at the National Music Festival in Maryland where he debuted in 2012 his Cadence and Dance for Guitar and Orchestra with the baton of Richard Rosenberg. Camilo Carrara has a stellar reputation performing many different genres of music–from classical to popular, contemporary music, jazz and pop. he has performed in Italy, Portugal, Switzerland, USA, Argentina, Uruguay, Chile, Venezuela, and throughout Brazil.

In 1989 he was an itinerant musician, travelling for nine months throughout Europe, celebrating the Bicentenary of the French Revolution in Paris, wintessing first-hand the fall of the Berlin Wall and busking in parks and subways. Carrara has produced the soundtracks for major advertising agencies such as Ogilvy & Mather Brazil, Nazca Saatchi & Saatchi, Grey, Taterka, Ferraz and Bullet, Carrefour, Vivo, Advil, Leroy Merlin, P & G, Gillette, Unilever, Hyundai, to name but a few.

He has been a guest artst and soloist with some of the foremost Brazilian orchestras with Eleazar de Carvalho (Brazil), Filip Rathe (Belgium), Gennady Rozhdestvensky (Russia), Heinz Holliger (Swiss), Ira Levin (USA), Isaac Karabtchevsky (Brazil), John Neschling (Brazil), Marin Alsop (USA), Olaf Henzold (Germany), Peter Maxwell Davies (England) and Yan Pascal Tortelier (France).

As a result of his affiliation with the National Music Festival, he collaborated with Sue Matthews in 2015 to create the compact disc, Foolish Hearts., recorded in Washington, D. C..


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Michelle Humphreys, Percussion

Michelle Humphreys, timpani & percussion, teaches at Towson University, where she will advance to the position of Assistant Professor of Percussion this fall. She is principal percussionist with Opera Lafayette of Washington, D.C. and performs regularly with many of the region’s top early music and modern ensembles including Washington Bach Consort, New Music Ensemble at Towson University, Folger Consort, National Cathedral Baroque Orchestra, Tempesta di Mare of Philadelphia, Handel Choir of Baltimore, Two Rivers Chamber Orchestra, National Music Festival Orchestra and Chesapeake Orchestra at St. Mary’s College of Maryland.

Highlights of recent seasons include Michael Daugherty’s Concerto for Timpani and Wind Ensemble, Raise the Roof, and a performance with the Maryland Band Directors Band of James Curnow’s Concertino for Solo Percussionist. Also a versatile performer on early music percussion, Humphreys was recently featured on several Spanish Baroque chamber music programs, including The Bach Sinfonia’s Nuevo Mundo Barroco and Harmonious Blacksmith’s Music of the Iberian Peninsula.

Recent seasons have included performances at Kennedy Center, Lincoln Center, Royal Opera at the Palace of Versailles, Philadelphia’s Kimmel Center, Washington National Cathedral, Cornell University, and Kenyon College, where she performed for the biennial meeting of the American Bach Society. She has recorded seven French Baroque operas with Opera Lafayette for the Naxos label, including several modern-day premieres. Notable releases include Rebel’s 1745 Zelindor, Roi de Sylphes and Monsigny’s 1762 Le Roi et le Fermier, which required creating percussion parts based on historical performance practices. She also can be heard on recent Chandos recordings with Philadelphia’s Tempesta di Mare, as well as DC-based Cantate’s 2012 release of Andrew Simpson’s Crown of Stars, and Patrick Roulet’s 2012 CD, Michael Colgrass Percussion Music 1951-1957.

Michelle is a member of the Vic Firth Education Team, a frequent clinician, and a proud endorser of Grover Pro Percussion and Zildjian cymbals.


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Elizabeth Adams, Violin

AdamsElizabethElizabeth Adams, violin, has performed as a recitalist and chamber musician throughout the United States, Canada, Europe, and Russia. She holds both an Masters of Music degree in violin and a Bachelor of Arts degree in Russian studies from Yale University and a doctorate from l’Université de Montréal. As an undergraduate student, she had the opportunity to study violin and Russian language in Saint Petersburg, Russia. Prof. Adams has studied chamber music with members of the Borodin and Tokyo String Quartets. She also studied piano and chamber music with Anna Balakerskaia and performed in the Smithsonian Institution’s Piano 300 exhibition. In addition, she has participated in summer festivals such as Meadowmount, Orféo, Schlern, and Sösterberg as both a violinist and pianist. Her teachers have included Mikhail Gantvarg, Vladimir Landsman, Ani Kavafian, and Ricardo Cyncynates. Elizabeth Adams has studied pedagogy extensively in both Russia and North America. Her doctoral thesis compares the approaches of pedagogues Yuri Yankelevich and Ivan Galamian. In Montréal, she was on the faculty at the McGill Conservatory of Music; in New Haven she taught at an underprivileged public school and at the Neighborhood Music School. Her students have been accepted at the Montréal Conservatoire, received highest marks on McGill/Royal Conservatory examinations, and been prize winners in numerous competitions. She specializes in injury prevention and recovery. Prof. Adams has been in demand as a performer, coach, and clinician. She is a frequent coach for the American Youth Philharmonic Orchestras and is pianist for their Music Buddies mentorship program. As a freelancer, she has performed with the Richmond Symphony Orchestra, Virginia Opera, Baltimore Lyric Opera, National Philharmonic and the Vermont Symphony Orchestra. Elizabeth joined the George Mason University School of Music as Professor of Violin in 2013 where she is the head of strings, teaches violin, viola, pedagogy, and coaches chamber music. She is a faculty member at the Levine School, at the Orféo Festival in Italy, and maintains a private studio.

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Emily Daggett Smith, violin

Emily Daggett Smith (violin) is emerging as one of the most compelling artists of her generation–described as playing “gorgeously” and with “gracefulness and easy rapport” (The Boston Globe) . Her recital and chamber music performances have taken her across the United States, Europe, South America and Asia, and she has been described as playing with a “very beautiful tone” (The Gathering Note) and “irrepressible élan” (The Seattle Times).

An avid chamber musician, Ms. Smith performs regularly at numerous festivals and series around the country such as the Concordia Chamber Ensemble, Festival Mozaic, Lenape Chamber Ensemble, Mainly Mozart Festival, Ravinia’s Steans Institute, and the Seattle Chamber Music Society.  She has shared the stage with many renowned musicians including current and former members of the Cleveland, Emerson and Juilliard String Quartets, as well as pianists Claude Frank, Joseph Kalichstein, and Gilbert Kalish.  Her performances have taken place at some of the world’s greatest halls including Carnegie Hall, Alice Tully Hall, the Shanghai Grand Theatre and the Vienna Konzerthaus, and have been featured on PBS’s national broadcast Live from Lincoln Center, NPR’s From the Top, Classical King FM in Seattle and WWFM The Classical Network in New York and Pennsylvania.  

As a soloist, Ms. Smith made her New York concerto debut at the age of 21 in Alice Tully Hall, playing the Beethoven Violin Concerto with the Juilliard Orchestra and conductor Emmanuel Villaume.  Since then she has performed concerti with many orchestras including Iris Orchestra, Festival Mozaic Orchestra, New Amsterdam Symphony Orchestra, and the New York Classical Players.  Growing up in the Boston area, she has also appeared as soloist with various orchestras in New England including a performance at the Hatch Shell in Boston as part of the Landmark Orchestra Series.  As a concertmaster of the Juilliard Orchestra she has worked with many renowned conductors including Michael Tilson-Thomas, Leonard Slatkin and Nicholas McGegan.

In addition to performing the masterpieces of the 17th through the 20th century, Emily is also a strong advocate of new music. She has premiered dozens of new works, including the world premiere of Dan Visconti’s Silvertone which was commissioned for her debut recital in Chicago at the Music in the Loft series.  As the founding first violinist of the Tessera Quartet, she has worked closely with composer and pianist Lowell Liebermann, performing his Piano Quintet with the composer at the piano, and has recorded a world-premiere album of Harold Brown’s complete works for String Quartet on Albany Records. She is currently working on performance practice research on Kaija Saariaho’s Graal Théâtre (1994).

Despite her busy performance schedule, Emily is dedicated to education and maintains various teaching and outreach activities. She served on the Violin faculty of the undergraduate department of Stony Brook University and has given masterclasses and educational outreach performances wherever her violin takes her.  One of the most rewarding musical experiences of her life was teaching, giving masterclasses, and performing with young musicians in the la Red music program in Medellin, Colombia over two consecutive years.  Her teaching style is one that blends and deepens the traditions of her great teachers Soovin Kim, Joel Smirnoff, Laurie Smukler, Masuko Ushioda, and Donald Weilerstein, with a deep understanding of what it takes to be a well-rounded musician in the 21st century.

Ms. Smith has received numerous awards and scholarships.  She is a winner of the Juilliard Concerto Competition, the SYLFF Fellowship, the Brockton, Newton and Waltham Symphony Concerto Competitions, and the Gold Medal at the Fischoff International Chamber Music Competition in the junior division.  Ms. Smith holds Bachelor and Master of Music degrees from The Juilliard School, and as a recipient of the prestigious Staller Scholar Award, she is in the final stages of the Doctor of Music and Arts degree at Stony Brook University.  She plays on a Johannes Cuypers violin and a Vuillaume bow, both generously donated by Dr. Marylou Witz.  

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Dana Goode, Violin

Dana Goode, violin, began touring and performing at age 16 as a member of a chamber ensemble under the direction of the brilliant Latvian cellist Lev Aronson. Early concert locations included the amphitheater at Carthage in Tunisia, St. Cecilia’s in Rome, and performances in Athens, Greece. The group also toured Israel and Jordan. Ms. Goode relocated to Germany to study with Dr. Guenther Kehr, founder and conductor of the Mainzer Kammerorchestor. While a member of the Staedtisches Orchester Mainz, she continued her studies at the Accademia Chigiana in Siena, Italy. After returning to the U.S., she completed a Bachelor of Music degree while studying at the Peabody Conservatory with Berl Senofsky, and a Master’s Degree in Violin Performance in 1986 with Mitchell Stern of the American String Quartet.

Ms. Goode also holds an M.A. degree from St. John’s College in Annapolis, (’91). She currently teaches and conducts at The College of Notre Dame and at Stevenson University in Brooklandville, where she is concertmaster and assistant conductor of The Greenspring Valley Symphony, led by Dr. Robert Suggs. A member for many years of the Baltimore Opera Orchestra, Ms. Goode’s extensive experience includes performing with Annapolis Opera, Baltimore Symphony Orchestra, Delaware Symphony, Washington Concert Opera, National Chamber Orchestra and Opera Vivente in addition to several local chamber ensembles. She is a member of the Board of Directors of the National Music Festival.


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Francesca Anderegg, Violin

Hailed by the New York Times for her “rich tone” and “virtuosic panache,” violinist Francesca Anderegg delivers insightful accounts of contemporary and classical music. Through her inventive programming, active composer collaborations, and precise yet impassioned interpretations, Anderegg has earned renown as a musical explorer of the first order. “This was playing that had it all — taste, mastery, sensuality.” – Norman Lebrecht, The Arts Journal.

As a recitalist, Francesca Anderegg explores a personal interest in diverse musical traditions through the creation of concert programs with deep cultural and narrative threads. Upcoming concerts include performances of contemporary Latin American works drawing inspiration equally from folk heritage and the European avant-garde, traditional Russian repertoire, and a “Canciones Populares” program of works inspired by popular music ranging from jazz and blues to folk dances. Anderegg brings her exploration home with a program of recent compositions and commissions from a new generation of U.S. composers, including Clint Needham, Hannah Lash, and Andrew Norman. With her husband, the noted Venezuelan-American composer Reinaldo Moya, Anderegg has performed a series of his original works exploring magical realism and other fascinating elements of Latin American literature and imagination.

Anderegg’s performances of contemporary music have led to collaborations with some of today’s most prominent composers. At the Lucerne Festival, she has had leading roles in works by Tristan Murail, Bruno Mantovani, Ivan Fedele, and Kaija Saariaho, and performed Pierre Boulez’s Anthèmes II for Solo Violin and Electronics in collaboration with IRCAM. At New York’s (le) Poisson Rouge, she performed John Adams’s Shaker Loops and Road Movies. She also worked with New York Philharmonic composer-in-residence Magnus Lindberg, performing his Clarinet Quintet throughout New York.

A recent highlight was a tour of Brazil, in which Anderegg performed as soloist with orchestras, taught master classes at Brazilian universities, performed in chamber music venues throughout the country, and taught at a social music project in the northeastern city of Recife at the invitation of the U.S. Consulate. Other highlights include recitals at the Arts Club of Washington, DC, all-Elliott Carter concerts at the Miller Theatre, performances with Itzhak Perlman and members of the Perlman Music Program, and more. Anderegg has performed the Stravinsky Violin Concerto with the St. Olaf Orchestra, Daniel Schnyder’s Violin Concerto with Orchestra for the Next Century and, as winner of the Juilliard Concerto Competition, the Ligeti Violin Concerto with the Juilliard Orchestra. Her second album of contemporary music Wild Cities was released on New Focus Recordings in 2016 and was featured in The Strad magazine.

Anderegg holds degrees from Harvard and Juilliard, where her teachers included Robert Mann, Ronald Copes, and Naoko Tanaka. In 2016, Ms. Anderegg was awarded a McKnight Fellowship for Performing Musicians, given to artists with a “distinctive musical voice.” She is a past recipient of the Leonore Annenberg Fellowship in the Performing Arts. Committed to education and outreach as well as performing, Anderegg is a professor of violin at St. Olaf College, and has taught at Interlochen Center for the Arts.

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Molly Gebrian, Viola

Molly Gebrian (Viola) has distinguished herself as an outstanding performer, teacher, and scholar throughout the US and Europe. Her love of contemporary music has led her to collaborate with many composers, often in premieres of works written for her, and she has worked closely with the Ensemble Intercontemporain and Pierre Boulez for performances at the Lucerne Festival. She spent the 2011-2012 academic year in Paris to undertake an intensive study of contemporary music with the violist/composer Garth Knox. In 2010, she designed a performance project entitled “Trios for Two,” which resulted in seven brand new works for viola and piano/percussion (one player) with pianist/percussionist Danny Holt. This music has been performed throughout the United States, and the project was recently featured in Los Angeles at REDCAT (in Walt Disney Concert Hall). In the 2016/2017 season, they toured the U.S. to celebrate the release of their Trios for Two CD on the Innova Recordings label. 

In addition to Garth Knox, her principal teachers include James Dunham, Carol Rodland, and Peter Slowik. Molly completed her Doctor of Musical Arts in viola performance from Rice University’s Shepherd School of Music and also holds a Masters of Music and Graduate Diploma in viola performance from the New England Conservatory of Music, and Bachelors degrees from Oberlin College and Conservatory of Music, in both viola performance and neuroscience. One of her biggest passions is understanding how people learn and experience music, which has led her to collaborate on neuroscience research with leading scientists on music and the brain. She served as the Assistant Director for two interdisciplinary conferences on music and the brain while at Rice, has published papers dealing with music and neuroscience in the Journal of the American Viola Society, Frontiers in Psychology, Flute Talk Magazine, and The Strad, and teaches an honors course on music and the brain at the University of Wisconsin-Eau Claire.

Her background in neuroscience gives her unique insight into how the brain learns and how musicians can best use this information to their advantage in the practice room.

Given this expertise, she is a frequent presenter on topics having to do with music and neuroscience at conferences, schools, and universities around the country. As a teacher, she has taught recent masterclasses at Interlochen Arts Academy, Ithaca College, Lawrence University, the University of Michigan, the University of Northern Colorado, the University of Wisconsin-Oshkosh, and Vanderbilt University, and was invited as a guest artist/teacher/lecturer to the Polish Viola Forum in Poznan, Poland in April 2017. In addition, she has been a faculty member at the Sewanee Summer Music Festival, the Montecito International Music Festival, and the International School of Stuttgart. Since 2014, she has been the Assistant Professor of Viola and Music Theory at the University of Wisconsin-Eau Claire.

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Gwen Krosnick, Violoncello

Described by the Daily Forward as “an exuberantly gifted cellist,” Gwen Krosnick (violoncello) has played across the world as a joyous communicator and advocate for music. In her life as a chamber musician, educator, and concert presenter, Krosnick creates space for audiences to connect and react; champions serious contemporary music; and – through her thoughtful, adventurous programming – encourages a lively dialogue between great pieces of music, old and new.

Krosnick enters the 2017-2018 season hot off the heels of a busy and inspiring last season: a varied mix of recitals with pianist Lee Dionne in New York, Massachusetts, and Ohio; exciting chamber music collaborations (including concerts with Kneisel Hall faculty and alumni); the first three concerts on her new series, The Boston Beethoven Cycle; and serving as Visiting Instructor of Cello on the faculty at Oberlin Conservatory, where she taught fifteen young cellists, coached chamber music, and was an enthusiastic member of Oberlin’s College and Conservatory community.

Highlights of 2017-2018 include trio concerts in Pennsylvania with violinist Ari Isaacman-Beck and pianist Qing Jiang; a teaching and performing residency at MYCO Youth Chamber Orchestra at UNC-Chapel Hill, with violinist Nicholas DiEugenio and pianist Mimi Solomon; recitals with Daniel Walden, pianist, featuring sonatas of Elliott Carter and Ralph Shapey alongside lieder of Beethoven and Schumann; and performances of the complete middle Beethoven quartets and solo works of Lei Liang and Donald Martino at home in Boston.

Krosnick was the founding cellist of Trio Cleonice and performed with them across the United States, Europe, and Asia. A review in the group’s final year said of Krosnick: “Her playing is marked by a passionate temperament and a strong, rich sound, as well as a formidable technique. She acts the music with her expressive face and body; in fact, she becomes the music” (The Reading Eagle). In the trio’s eight seasons together, they appeared at venues such as Jordan Hall in Boston, the Kennedy Center in Washington, D.C., and the Concertgebouw in Amsterdam, and garnered top prizes at the Schoenfeld and Arriaga Chamber Music Competitions.

Alongside these performances, the group began a community chamber music series – Trio Cleonice & Friends, in its home base of Brookline, Massachusetts – of which Krosnick was Artistic Director. A Boston Globe review said that the series had the “informal charm of a house concert, the vast programming range of festivals like Yellow Barn, and playing that was, at its best, bracingly expressive”; praised TC&F as “one of the most interesting and committed chamber series in Boston right now, exploring the repertoire from top to bottom, left to right, with an impressive roster of collaborators.” Along with curating these guest artists and programs, Krosnick performed extensively on the concerts, and received glowing praise in the Boston Globe for her artistry: “The concert’s lodestar was the cellist Gwen Krosnick…The younger Krosnick, who played gorgeously throughout, had a preponderance of the [Schubert] Quintet’s big melodies and looked as if there was no place she would rather be.”

Krosnick’s current playing-curating project is The Boston Beethoven Cycle, which features a chronological voyage through Beethoven’s complete string quartets over the course of three seasons. Krosnick is a ferocious and exuberant advocate of new music; and the series, to that end, presents Beethoven’s revolutionary quartets alongside solo contemporary masterworks by composers such as Ralph Shapey, Elliott Carter, Donald Martino, John Harbison, Roger Sessions, Tibor Pustzai, Andrew Norman, Christopher Theofanidis, Richard Wernick, and Thea Musgrave. The series, which takes place at Pucker Gallery on Newbury Street, will present Beethoven’s Op. 59 quartets in October (alongside works of Carter, Lei Liang, and Thurídur Jónsdóttir); and Opp. 74 and 95 in June (with works of Martino and others TBA).

Krosnick has premiered works written for her by Richard Wernick (two Suites for Unaccompanied Cello, his Piano Trio No. 2, and his two-cello work, Sonata for Two) and Ralph Shapey (Prelude and Scherzando for Cello and Piano). Advocacy for these pieces and for other new music – programming under-performed works, giving pre-concert talks, and commissioning new pieces involving the cello – is a constant for her, and a long-term goal. Krosnick’s mission to engage a wide audience in a passionate dialogue about music includes her frequent writing, both formal and informal, which appears online and in print publications. She is a regular contributor to Strings magazine and – in addition to introducing works from the stage, which she loves – writes program notes for concert series and for her own recitals. (A recent review described the way in which “her vivid, rhapsodic program notes enhanced the performance.”)

Krosnick studied at Oberlin College and Conservatory, where she received a Bachelor of Music Degree as a cello student of Darrett Adkins and Dmitry Kouzov in addition to a Bachelor of Arts degree in Russian Language and Literature. She most recently studied with Natasha Brofsky at the New England Conservatory, where she received a Master’s degree and coached with Vivian Weilerstein. Krosnick spent many summers at Kneisel Hall and Greenwood Music Camp; she was a longtime participant at Yellow Barn, where she collaborated with artists such as Anthony Marwood, Violaine Melançon, Maria Lambros, Alan Kay, and Donald Weilerstein. Krosnick’s central musical influence, since childhood, was the Juilliard String Quartet: her father, the cellist Joel Krosnick, as well as the quartet members whose playing she heard live growing up – Robert Mann, Joel Smirnoff, Ronald Copes, and Samuel Rhodes. Her other most impactful teachers included the great pianist Seymour Lipkin, violinists Laurie Smukler, Mark Sokol, and Geoff Nuttall, and music theorist Brian Alegant.

Away from the cello, Krosnick’s focus mimics her joyously-varied musical life: she is Mom to Anya, a wonderful Australian Shepherd rescue puppy; continues her Russian language studies; practices yoga, reiki, and meditation (for which she is RYT-200 and Reiki I certified); and is a passionate and accomplished home cook – specializing in classic, mostly-vegetarian, intensely-flavorful Italian food.

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Robert Stiles, Double Bass / Librarian

Robert Stiles, double bass/librarian, was appointed Principal Librarian of the Detroit Symphony Orchestra in 2004 and has worked in as Librarian since 1999. He is also the Principal Librarian of the Grand Teton Music Festival.

A musician and a scholar, Dr. Stiles maintains active connections to both areas of his professional life. In his dissertation for his Doctoral Degree from the University of Texas at Austin, Serge Koussevitzky: Recently Discovered Compositions for Double Bass and for Large Ensembles within the Context of His Life and Career, Robert presented his discovery of 29 lost compositions by Serge Koussevitzky, the great double bass virtuoso and conductor of the Boston Symphony. Other publications include “Lass uns das Lied des Schiller:” Musical and Philosophical Unities in Ludwig van Beethoven’s Ninth Symphony,” which examines the concept that the famous Ode to Joy is the basis for every thematic area in this work and served as a unifying force not only in the Ninth Symphony but also in every aspect of Beethoven’s later years.

Dr. Stiles is a busy composer, arranger and double bassist. His arrangements have been performed by the DSO as well as the Baltimore and Columbus Symphonies. He performs regularly with the Detroit Symphony, Michigan Opera Theatre and the Grand Teton Music Festival. He joined the San Angelo Symphony at age 15 and played with Louisiana Philharmonic and the Albuquerque Symphony. He has also performed with the Spoleto Festival in Italy and at the American String Teacher’s Association convention in Norway.

He previously served as Principal Librarian of the Florida West Coast Symphony and the Sarasota Music Festival. Dr. Stiles designed the new orchestra library in the Max Fischer Music Center, where he reorganized of the DSO’s vast collection and re-discovered over 500 works donated to the Orchestra from the Works Progress Administration. He is reconstructing the Orchestra’s musical history and creating a model orchestra library.

Stiles’ hobbies include hiking, biking, skiing and brewing beer. He lives in Huntington Woods with his wife, Gwen, a speech pathologist, and one super son age 7, and their awesome Labrador retriever, Sherman, age 10.


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Celine Mogielnicki, Voice Mentor

Soprano Celine Mogielnicki is a versatile artist, recognised for her “delicious” (Opera Today) and “finely balanced” (NY Times) singing. She has appeared in concert with the National Symphony Orchestra, American Symphony Orchestra, National Music Festival, Southwest Florida Symphony, Transfiguration Choirs of New York City, in addition to guest artist engagements with Hudson Valley Chamber Music and the Rhinebeck Chamber Music Society.

Future engagements and projects include Beethoven’s Mass in C with the National Music Festival, a recording for Naxos of Schönberg’s Second String Quartet in a new arrangement for string orchestra, and Heldin, a multi genre theatrical concert piece exploring the emotional journey of femininity through the music of Richard Strauss to be presented in 2019 in Berlin and New York in collaboration with the 23Arts Initiative.

As a concert artist, her programming inspiration comes from a deep desire to examine important cultural and social issues and a strong instinct to depart from the existing structure that defines the classical concert.  Creative projects include an Asperger Syndrome Recital featuring music of selected composers with documented Spectrum related traits (supported by a grant from the Sing for Hope Foundation and the Global and Regional Aspergers Syndrome Partnership) and a “Farm to Table” food sustainability recital; a sold-out event in collaboration with the Mario Batali Foundation and Eataly NYC.

A graduate of the Juilliard School and Dawn Upshaw’s graduate vocal arts program at Bard College, Ms. Mogielnicki has performed with LA Opera, Wolf Trap Opera, Bard Summerscape, Caramoor, Juilliard Opera, and DC Public Opera in both standard operatic repertoire and contemporary opera. Roles include Pamina, Governess, Micaela, Marzelline and Musetta as well as world premieres of works by David T. Little (Vinkensport) and Missy Mazzoli (Song from the Uproar).

Ms. Mogielnicki is a winner of the John Erskine Prize for Artistic and Academic Achievement from the Juilliard School, as well as a prizewinner from the Philharmonic Society of Arlington, Sing for Hope foundation, and the Bel Canto Institute. She was a finalist in the Career Bridges Competition and Washington International Competition, and a semi-finalist in the Deborah Voigt Vero Beach Opera Competition, Joy in Singing Competition and the Brava! Opera Theater James Collier Young Artist Competition.

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Adrian Rosas, Voice Mentor

Adrian Rosas (voice mentor, bass baritone) has been hailed by The New York Times as “a stalwart bass-baritone with a burnished voice” and in Opera News as a “mellifluous bass-baritone [with] theatrical flair”, Adrian Rosas is an emerging young artist with “impressive experience and talent” (The Boston Globe). Mr. Rosas has performed with opera companies such as the Seattle Opera, Opera Theatre of St. Louis, Houston’s Opera in the Heights, and the Detroit Opera House. As a champion of new and modern music, he has had the opportunity to work on a variety of newly written works, including Peter Ash’s The Golden Ticket, Robert Xavier Rodriguez’s Frida, Petr Kotik’s Master-Pieces, Matt Aucoin’s Whitman, newly written operas with the American Lyric Theater in New York, and with the Ostrava Center for New Music in the Czech Republic. Equally versed in concert and oratorio work, he has performed at Carnegie Hall (Stern Auditorium, Weill Recital Hall, and Zankel Hall), Merkin Concert Hall, and Alice Tully Hall. Mr. Rosas holds a Bachelor of Music Degree from Western Michigan University, and a Master of Music Degree from The Juilliard School.

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Alan Rothschild, Piano Technology

Alan Rothschild is a certified piano technician and teacher who specializes in tuning, repair and keyboard regulation. He studied at the New England Conservatory of Music and apprenticed and worked at the Tanglewood Music Festival. In addition to a plethora of private clients, his corporate clients include the Boston Conservatory of Music, the Boston Symphony Orchestra, Wellesley College and Wheaton College.


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Arts Laureate, Recording Engineering

Arts Laureate, recording engineering. Arts Laureate is a record label and recording team specializing in chamber and orchestral recordings. Arts Laureate has produced recordings throughout the United States for groups such as the Chicago Symphony Orchestra, Baltimore, Milwaukee, Richmond, Orpheus, Imani Winds, Stradivari Quartett, and Acis Productions, as well as schools like Rice, Concordia, Lee, the University of North Carolina, and the University of Maryland.

Kevin Bourassa, senior recording engineer at Arts Laureate, produces CD sessions as well as live concert recordings. Kevin has been found frequently in the Krannert Center at the University of Illinois at Urbana-Champaign and has recorded projects with the Milwaukee Symphony Orchestra, New Orchestra of Washington, Choralis, Acis Productions, University of Delaware, University of North Carolina, and others. Kevin manages the Arts Laureate recording rigs, including the cutting-edge network-audio system.

Christian Amonson, recording engineer, won his first full-season recording contract at age 20, selected after Virginia’s only professional vocal ensemble auditioned the most experienced classical engineers in the mid-Atlantic. Since that time, Christian has provided audio and video recordings for ensembles and festivals throughout the US, as well as England, Germany, Italy, and Poland. Christian cataloged tens of thousands of CDs for the Classical Music Library Online, developing the ability to identify recording engineers and techniques by ear. Christian is an auditioned member of “The President’s Own” United States Marine Band, providing recordings and live sound for the ensemble.

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Philip Rosenberg, Explication/Festival Photographer

Philip Rosenberg, explication/Festival Photographer. Philip Rosenberg’s passion for theater and music, combined with his love of teaching, have been the core of his professional life. At Hunter College High School in New York City, he started both the Instrumental Music Program and the Theater Ensemble, his students including Cynthia Nixon, Judd Greenstein, Lin Manuel-Miranda and Robert Lopez. As Music Director and Resident Composer of the Alabama Shakespeare Festival, he composed the incidental music for twenty-seven productions. Other teaching positions have included the Seacrest School, Walden School, Harlem School of the Arts, Temple University, Jersey City State College, Yeshiva University, Columbia University and the City College of New York.

Philip has directed stage productions at the Hot Springs Music Festival, Art of the Early Keyboard, the Seacrest Theater Ensemble in Naples, FL, Maplewood Music Festival and the Hunter Theater Ensemble, and he has composed numerous scores for the Roundabout Theater in New York. He has also composed works for the Hot Springs Festival, Pennsylvania Ballet, Riverside Shakespeare Festival/Joseph Papp, RESONANCE and the Composers’ Conference as well as commercial scores for IBM, Lifetime Cable, Exxon, Pepsi, Sesame Street and 3-2-1 Contact.

His principal teachers have included Bulent Arel, Mario Davidovsky, Vladimir Ussachevsky, Chou Wen-Chung, Charles Dodge, Fritz Jahoda, Miriam Gideon, Jacques Monod and Felix Galimir. Philip has served as the President of the League of Composers–International Society of Contemporary Music and has been the recipient of the Columbia University Rapoport Award in Composition, the Broadcast Music Incorporated Award in Composition and the Brunswick Awards in Composition. The 2013 National Music Festival included a workshop production of Philip’s adaptation of Much Ado About Nothing (re-imagined as a 1930s musical in the style of the Fred Astaire/Ginger Rodgers movies) entitled A Merry War. He is the co-founder of the Fiddlesticks! Program.

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Mladen Tarbuk, Guest Conductor

Mladen Tarbuk, Guest Conductor, is one of the most versatile artists on the Croatian music scene, works with equal success as a composer, conductor, music writer, educator and producer. The crown of his varied career was a concert with an orchestra Concert-Verein held 2008th in the Vienna Musikverein. On this occasion, the program, with Haydn and Mozart, included his piece Sebastian in sleep. As a conductor, he achieved international fame acting five years, 2004-2009, as a regular guest conductor at the German Opera on the Rhine in Düsseldorf, and visiting guest conductor in the various opera houses and concert halls, working at the same time with many renowned orchestras and opera houses (including Canada, Chestertown, Mexico, Germany, Austria, Italy, Czech Republic and Hungary).  As a General manager and artistic director of Croatian National Theater (2002-2005) he  offered a range of excellent performances (Gloria, Lady Macbeth of the Mtsensk District, Don Carlos, Tristan and Isolde, Bajadera, Romeo and Juliet). 

He became the Music Program Director of the Dubrovnik Festival in December 2012 and  Acting Artistic Director of the Dubrovnik Summer Festival in 2014.  He wrote about 90 compositions, compassing from chamber music to the large symphonic forms. His most successful works are Sinfonia, ballet The Streetcar Named Desire, Concerto for saxophone quartet and wind band, and Sebastian in Dream for 10 string players. Many of his compositions were performed on prestigious festivals, such as Enescu Festival Bucharest, Temps du Soufle and Musicora Paris, Euromusicale München, Trieste Prima, Moscow Autumn, Gaudeamus Festival Amsterdam, Wien Modern and Music Biennale Zagreb.  He was awarded with Austrian Prize Dr. E. Vogel, Basque’s Prize Tolosa 93, Czech’s Prize Janaček, as well as Croatian prizes Šulek, Slavenski (four times), Trnina and Papandopulo.  He was general director of Croatian National Theatre Zagreb and Summer Festival Dubrovnik. Now he is professor of composition and conducting at Zagreb Music Academy and vice-president of Croatian Composers Society.

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Arthur Barbosa, Guest Conductor

Arthur Barbosa, Guest Conductor, is a composer, violinist, and arranger.  He was born in Fortaleza, Ceará,  Brazil and began his musical studies at age 12 with Alberto Jaffé. As a violinist, he performed with several orchestras in Brazil and abroad. Currently, he is concertmaster with the Camerata Acadêmica do Mercosul, principal violinist with the Orquestra de Câmara da Universidade Luterana do Brasil, and a member of the Orquestra Sinfônica de Porto Alegre. As a composer, he received instruction from Elieri Moura and Dario Ntaca, but considers himself to be primarily an autodidact. He has a vast experience as an arranger, with several of his works being performed by some of the most important orchestras and chamber ensembles in Brazil, including the Orquestra de Câmara da Paraíba, the Quinteto da Paraíba, the Orquestra de Câmara Sesi-Fundarte, and the Orquestra de Câmara do Teatro São Pedro. His work Caribea for trumpet and string orchestra, premiered in 1999, was hailed by the celebrated French trumpetist André Henry as “a magnificent work, written with a great stylistic refinement of phrases and rhythms, and whose technical brilliance makes it a welcome addition to the trumpet’s repertoire.  Maestro Barbosa’s work was heard at the premiere season of the National Music Festival under the baton of Jean Reis, and he returned to NMF the following season to as violin soloist and conductor in Chestertown.

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Douglas D. Cox, director, Chester River & Frederick Chorales

Douglas D. Cox, director, Chester River Chorale and Frederick Chorale, has served as assistant conductor and tenor vocalist with the Soldiers’ Chorus of the U.S. Army Field Band. He is a seasoned performer, having toured nationally in all 48 continental United States, Europe and the Far East, performing in all imaginable public venues from the finest concert halls of the world to school gymnasiums and even rodeo arenas.

Under the direction of the late Maestro Erich Kunzel, Douglas has performed as soloist with the Cincinnati Pops and the London Symphony and Naples Philharmonic Orchestras. With Maestro Albert-George Schram he was soloist with the Charlotte and Nashville Symphony Orchestras.  Other notable collaborations were with Keith Lockhart and the Boston Pops Orchestra, Marvin Hamlisch and the National Symphony Orchestra, and George Manahan with the Richmond Symphony.

Douglas holds the Bachelor of Music Education and Master of Music Education degrees from Wichita State University, and the Master of Arts in Arts Administration degree from Goucher College.  He retired from military service as a Sergeant Major. His military awards include the Legion of Merit, three Meritorious Service Medals, four Army Commendation Medals and five Army Achievement Medals. He resides in Stillwater, Minnesota with his wife, soprano Janet Hjelmgren, a former Sergeant Major in the Soldiers’ Chorus.

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Caitlin Patton, Executive Director

Caitlin Patton, executive director, received her Master of Public Administration degree at the College of Charleston in Charleston, SC, where she focused her studies in Arts and Nonprofit Administration. Upon her graduation, she was inducted into Pi Alpha Alpha, the national public administration honor society, and received the MPA program’s Outstanding Student Award in recognition of her 4.0 cumulative GPA and involvement in the MPA community.

Caitlin grew up on Maryland’s Eastern Shore, where she developed a passion for reading, writing and music as well as animal rescue and equestrian pursuits. She was admitted to Washington College at the age of 15 and graduated magna cum laude four years later with majors in Humanities and Music and minors in Creative Writing and English. Both during and after college, she taught violin and horseback riding and trained horses professionally.

Her arts administration experience includes positions with Spoleto Festival USA, the Boston Symphony Orchestra (at the Tanglewood Music Center) and as the first Executive Director of the Mid-Atlantic Symphony Orchestra. Her training includes a Professional Certificate in Arts Management from the University of Massachusetts Amherst Arts Extension Service, and the Essentials of Orchestra Management seminar at the League of American Orchestras.

In addition to her work with the National Music Festival, she is a violin teacher and Director of the Fiddlesticks! Program. She performs regularly as a violinist and violist with the Union Symphony Orchestra in North Carolina. Her first book, How to Build Capacity in Your Small Nonprofit, was published in 2012.

Caitlin lives with her husband, NMF Artistic Director Richard Rosenberg, on a small farm in Galena, MD, with three goats, five dogs, four cats, three horses, sixteen turkeys, one duck, five geese and a growing number of chickens–all endangered heritage breeds. An active animal rescue advocate, she also fosters horses for the Arabian Rescue Mission, has volunteered for rescue organizations including the Best Friends Animal Sanctuary (UT) and Lowcountry Animal Rescue (SC), and serves on the board of the Humane Society of Kent County as well as the Chester River Chorale.


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Richard Rosenberg, Artistic Director

Richard Rosenberg, artistic director & conductor, is one of a handful of American conductors whose experience ranges from contemporary music to historical performance practice. Under his baton, Richard’s editions of music by the 19th-century Louisiana composers Edmond Dédé, Louis Moreau Gottschalk and Lucién Lambert, as well as music by Jerome Moross, are available on five compact discs on the Naxos/Marco Polo label as well as his best-selling recording of jazz-inspired concerti including music by George Gershwin, James Price Johnson, Harry Reser and Dana Suesse.

Earlier in his career, Richard was for fifteen years the Artistic Director of the Hot Springs Music Festival, Music Director of the Chamber Orchestra of California in San Francisco, the Waterloo/Cedar Falls Symphony Orchestra, the Corpus Christi Symphony Orchestra, the Pennsylvania Ballet and RESONANCE, a New York contemporary music ensemble. He also served on the conducting staffs of the Baltimore Symphony, the Oakland Symphony, the London Classical Players, the Michigan MozartFest and the Aspen Music Festival and as Acting Director of Orchestras at the University of Michigan in Ann Arbor.  He is also the artistic director of the Union Symphony Orchestra,

Richard has performed as guest conductor throughout the Americas and Europe. With the violist Yizhak Schotten, Richard recorded a disc of works for viola and chamber orchestra for Crystal Records, and he directed American contemporary music for the Opus One label. Richard conducted the groundbreaking collaborative concert of an American orchestral ensemble and an ensemble of traditional Japanese instruments, Pro Musica Nipponia, in Detroit’s Orchestra Hall. The concert included music written for this cooperative experiment by Minoru Miki, one of Japan’s preeminent composers.

On two weeks’ notice, Richard led the critically-acclaimed European tour of Arleen Auger and The Classical Band, a New York-based early instrument orchestra. Richard conducted two performances of Gustav Mahler’s monumental Symphony No. 3 with the Orchestra Sinfonica della Fondazione “Tito Schipa” di Lecce in Italy, and was invited to return for additional concerts to lead the premiere of Nicola Scardicchio’s Mosé and music of Dave Brubeck. He has led residencies at Oberlin College, the University of Kansas at Lawrence and Louisiana State University at Baton Rouge. His recent engagements include concerts with the Acadiana Symphony, Prince George’s Philharmonic, Orquesta Sinfónica de Bahí­a Blanca, Orkestra Academic Başkent, Orquestra de Câmara de Cascais e Oeiras and the Orquestra de Camara Eleazar de Carvalho.

Richard’s experience includes study with composers Mario Davidovsky, Krzysztof Penderecki and Carlos Surinach; clarinet with Gervase De Peyer and Georg Hirner; theory with Charles Burkhardt, George Perle, and Carl Schacter; opera staging with Roger Brunyate and Boris Goldovsky; choral conducting with Margaret Hillis, Robert Page, Robert Shaw and Elmer Thomas, and conducting apprenticeships with Eugen Jochum, Friedrich Cerha, Gunther Herbig, Julius Herford, Carlos Kleiber, Giuseppe Patané, Wolfgang Sawallisch (Bavarian State Opera), Jerzy Semkow and Leonard Bernstein (New York Philharmonic). He was an active participant in master classes with Pierre Boulez, Aaron Copland, Jussi Jalas, Lorin Maazel, Julius Rudel, Sir Georg Solti and Walter Weller.

In 1988, he was awarded a Rackham Fellowship to work in Europe with Sir Roger Norrington and Nikolaus Harnoncourt. His training also includes studies at Yale University with Otto-Werner Muller, the Peabody Institute-Johns Hopkins University with Frederik Prausnitz, the Mozarteum in Salzburg with Herbert von Karajan, the Aspen Music Festival with Paul Vermel, at the City University of New York with Fritz Jahoda, Cincinnati College-Conservatory with Gerhard Samuel and the Accademia Musicale Chigiana in Siena with Franco Ferrara.

He is an honorary Paul Harris Fellow of the Rotary International Foundation, an honorary National Arts Associate of Sigma Alpha Iota, a member of the National Advisory Board of the Henry Mancini Institute and a member of the Alice Rich Northrop Memorial Foundation. On a Yale AluminiVentures Grant, he traveled to Cuba in 2010 to research lost works of Louis Moreau Gottschalk, returning with over 1100 pages of music. Also in 2010, he rediscovered the lost opera by New Orleans composer Edmond Dédé, Le Sultan d’Ispahan, which was written in 1887 and never performed. Rosenberg conducted the world premiere of the overture in 2011 and is transcribing and editing the entire work for future performance. Several years ago he rediscovered Cole Porter’s last musical, Aladdin, which he premiered in 2006.

In addition to his work as a conductor and teacher, Richard is also a recording producer, chansonnier, editor and arranger. He has given several performances of H. K. Gruber’s pandemonium, Frankenstein!! as both conductor and chanssonier to critical acclaim.

Richard’s numerous orchestrations and his corrected editions of J.S. Bach’s Saint Matthew Passion, George Gershwin’s A Rhapsody in Blue, Arnold Schonberg’s Verklärte Nacht (which he will record in 2017 with NMF for the Naxos label) and the complete orchestral music of Gottschalk (which he has just prepared for publication) have received numerous performances. In addition to his work as a conductor, Richard has produced two compact discs of music with jazz legend Dave Brubeck, and two discs of Mozart piano concerti, all for the Naxos Records label.

His students presently hold positions as assistant conductors to the New York Philharmonic, Boston Symphony, Cleveland Orchestra, Boston Philharmonic, Pittsburgh Symphony, Orchèstre Radio France and Nashville Symphony, cover conductor to the Saint Louis Symphony and music director of the Arkansas Symphony.


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