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.
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.
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.
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.
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.
T. b. a., Trumpet
Michael Kris, Trombone & Tuba
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.
Gary Smart, Collaborative Piano
Gary Smart’s (Collaborative Piano) career has encompassed a wide range of activities as composer, classical and jazz pianist, and teacher. Always a musician with varied interests, he may be the only pianist to have studied with Yale scholar/keyboardist Ralph Kirkpatrick, the great Cuban virtuoso Jorge Bolet, and the master jazz pianist Oscar Peterson. A true American pluralist, Dr. Smart composes and improvises a music that reflects an abiding interest in Americana, jazz, and world musics, as well as the Western classical tradition.
Smart’s work has been supported by the Guggenheim Foundation, the Ford Foundation, the Music Educator’s National Conference, the Music Teacher’s National Association and the National Endowment for the Arts. Smart’s music has been performed in major venues in the US, including the Kennedy Center and Carnegie Hall, as well as venues in Europe and Asia. His “Concordia” for orchestra won the Concordia jazz composition award and was premiered at Lincoln Center, New York.
Smart’s compositions are published by Margun Music (G. Schirmer) and his work has been recorded on the Mastersound, Capstone and Albany labels. His CD’s “The Major’s Letter”, which features his songs for voice and piano, “American Beauty – a ragtime bouquet”, “Hot Sonatas”, a collection of jazz-influenced chamber music, and “Turtle Dreams of Flight“, original music for solo piano performed by the composer, have all been released recently by Albany Records. His “Song of the Holy Ground” for string quartet and piano won the 2008 John Donald Robb Musical Trust Composers’ Competition and was premiered at the 2009 Robb Composers’ Symposium at the University of New Mexico.
Dr. Smart has spent two residencies in Japan, teaching in programs at Osaka University and Kobe College. He has also taught in Indonesia as “Distinguished Lecturer in Jazz” under the auspices of the Fulbright program. From 1999-2003, he served as Chairman of the University of North Florida Music Department. Gary Smart is currently a Presidential Professor of Music at UNF.
Susan Bennett Brady, Harp
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.
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..
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.
Elizabeth Adams, Violin
Emily Daggett Smith, violin
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.
Simon Smith, violin
After his London debut recital he was hailed in The Times as “a virtuoso who is at once darkly cool and immensely persuasive” and for “selfless playing, devoted to making the music exist as fully as possible” and praised in The Guardian for “startling talent”. An encore at a subsequent London recital was described in The Strad magazine as being “played with the characteristic poignancy and expressive power which made this concert so enchanting”
Recently his disc of solo violin works by Kurtag and Bartok drew praise in The Strad Magazine as a “luxuriantly detailed reading” and in Gramophone Magazine for “his thoughtful, sympathetic performances”
He has performed as a soloist with orchestras such as the Academy of St. Martin in the Fields, the Philharmonia, and the Royal Liverpool Philharmonic. Recitals have included the Wigmore Hall and the Purcell Room. He has performed extensively across Russia with recitals and concerto performances from Moscow to Vladivostock, and played concertos in Hong Kong and Beijing. His repertoire ranges from baroque to contemporary and has a number of ongoing projects to expand the violin repertoire through commission and rediscovery of lost works.
A committed chamber musician, Simon was a member of the Academy of St. Martin in the Fields Octet, performing in concert halls and broadcasts worldwide. Other projects have included the release of a CD of duos and trios by Kodaly and Dohnanyi
Simon has taught at the Royal Birmingham Conservatoire since 2004. He also teaches specialist young musicians at the Royal College of Music Junior Department in London and at Wells Cathedral School.
In addition to masterclasses throughout the UK he has visited and taught in institutions such as Central Conservatoire, Beijing; Academy of Performing Arts, Hong Kong; Zhiganov State Conservatoire, Kazan, Russia, and Nanyang Academy of Fine Arts and School of the Arts in Singapore. In 2018 he will be giving a class at the Moscow Conservatoire. He has been on the jury for international competitions, including as chair of a new competition in Kazan, Russia.
He plays on a Rogeri violin, made in 1708. He acts as a consultant to Viaduct Violins in Paris.
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.
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.
Dillard Cheek, Viola
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”; Trill.me 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.
Ian Hallas, Double Bass
Ian Hallas (Double Bass) is originally from Northbrook, Illinois. He joined the Chicago Lyric Opera Orchestra at the start of the 2016/17 season. Mr. Hallas holds a Bachelors Degree with Distinction in Research and Creativity from Rice University where he studied with Paul Ellison as well as a Masters Degree from the University of Southern California under David Moore. He has also been heavily influenced by Tim Pitts, Todd Seeber and Chris Hanulik. Previous to winning a position with Lyric, he performed with the Los Angeles Philharmonic, Atlanta Symphony, Milwaukee Symphony, and the Grant Park Orchestra.
Ian Hallasis an award-winning fellow at the Tanglewood Music Center. He was also an invited guest chamber musician at Spoleto Festival USA where he performed with the St. Lawrence quartet and members of the Chamber Music Society of Lincoln Center. Additionally, he has attended the Aspen Music Festival, Music Academy of the West, and Domaine Forget Summer Music Academy.
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.
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.
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.
Philip Rosenberg, Explication/Festival Photographer
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.
Douglas D. Cox, director, Chester River & Frederick Chorales
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.
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.
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.