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 isProfessor of Flute at the University of South Carolina in Columbia. Formerly a member of the Columbus Symphony (OH) and prizewinner in two NFA Young Artist Competitions, she brings a breadth of experience as an orchestral flutist, recitalist and chamber musician to her performances and studio at UofSC. She has a keen interest in contemporary music and has premiered and commissioned numerous pieces that feature the flute in solo and chamber settings, including new works for flute and bassoon with her husband, bassoonist Michael Harley. She also maintains a deep commitment to the standard repertoire: her CD with pianist Lydia Brown and actress Robyn Hunt, Words and Music ((Titanic label), includes masterworks by Debussy, Schubert and Reinecke, and incorporates readings of the poetry that inspired each piece.

Jennifer is actively involved with the faculty at UofSC in creating curriculum and experiences that address the unique concerns of 21st century musicians. She has an interest in helping her students develop a mindful approach to music-making and has worked closely with psychologist Todd Kays (www.athleticmindinstitute.com) to address the mental and emotional aspects of performing and practicing. She has held leadership roles on campus and in national events, including the College Music Society Summit on 21st Century Music School Design. She is the faculty advisor for Fuse, UofSC’s graduate wind quintet, an ensemble dedicated to providing innovative and immersive concert experiences to the UofSC community. She is also faculty advisor for the South Carolina Flute Society, a student organization that holds national competitions and stages a yearly flute festival, all while giving UofSC flute students important experience in event planning, fundraising and community engagement. Graduates from the UofSC flute studio pursue successful and varied careers in music, including orchestral playing, college teaching, chamber music, music education, and the music industry.

Born and raised in South Carolina, Jennifer graduated from the Interlochen Arts Academy, the Eastman School of Music (BM), where she was awarded the Performance Certificate, Michigan State University (MM), and the University of Cincinnati College-Conservatory of Music (DMA). In the summers she teaches at the National Music Festival in Chestertown, MD and the Interlochen Arts Camp in Michigan. Jennifer was featured in the October 2019 cover article of Flute Talk magazine.  Please visit www.jenniferparkerharley.com.

 

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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 Gramophone Magazine. Appointed to the faculty of the Blair School of Music at Vanderbilt University in 2008, Hauser performs with the Blair Woodwind Quintet, and maintains an international stature as performing, teaching, and recording artist. He also performs as principal oboe with the Nashville Opera, and with Music City Baroque.

Passionate about music of all time periods, Hauser is equally at home performing works of the 17th-century on period-authentic instruments , to music of the 21st-century for modern oboe. Hauser actively engages with composers in the creation of new works. Recent notable premiers include works by Augusta Read Thomas, Libby Larson, Nailah Nombeko, Lowell Liebermann, John Harbison, Peter Schickele, and Elizabeth Hoffman. 

Prof. Hauser has spent the past several seasons developing skills as a multi-genre improvisor. In an attempt to push the boundaries of the oboe’s traditional catalog, his recent repertoire has included works involving interactive electronic media and improvised oboe, and performance in genres outside of the classical realm such as jazz, and popular music of the world.

Prior posts include serving as principal oboe of the Orlando Philharmonic and the Palm Beach Opera; artist faculty at the Lynn Conservatory of Music, SUNY-Potsdam, the Interlochen Center for the Arts and the Hot Springs Music Festival. Other orchestral credits include performing with the symphony orchestras of Detroit, Atlanta, Houston, Nashville, the Orchestra Camerata Ducale (Turin, Italy), and the Atlanta Baroque Orchestra, among others. He was afounding member of the Board of Directors of the National Music Festival.

Jared Hauser holds degrees from Michigan State University, Rice University, Oberlin College and the University of Michigan, where he studied with Daniel Stolper, Robert Atherholt, James Caldwell, and Harry Sargous respectively. His other teachers include Alex Klein and Mark Dubois. He is a Yamaha Performing Artist.

Email: Jared.Hauser@Vanderbilt.edu

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Thomas Parchman, Clarinet/Director of Operations

Thomas Parchmanclarinet & director of operations, 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 Chicago Civic Orchestra 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. He then became a 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. 

Prof. Parchman 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 concerti by Mozart, Copland, Krommer, Brahms/Berio’s opus 120, and Bassi’s Rigoletto Fantasy. Dr. Parchman also holds the bass/3rd clarinet position with the Rhode Island Philharmonic, and is a member of the Opera North, Green Mountain Opera and Opera Maine. 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 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 playing in the Philadelphia Orchestra.

Email: parchman@maine.edu

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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.

Email: jkeesecker@fsu.edu

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Michelle Stebleton, Horn

Michelle Stebleton, horn, is the Professor of Horn at Florida State University.  Her musically centered solo and chamber performances can be heard on four compact discs with MSR Classics: Harambee: The Horn Works of Paul Basler; Marathon, a groundbreaking recording of unaccompanied music for horn; and MirrorImage at the Opera and MirrorImage on Safari, recordings of her horn duo with Lisa Bontrager.  MirrorImage has revived the Classical tradition in this century through dozens of commissions and premieres for two horns and piano.  

At FSU, Professor Stebleton maintains a studio of c. 30 horn students.  She has been awarded the Teaching Incentive Program Award, two Undergraduate Teaching Awards, and five large research grants.  She currently serves on the Advisory Council of the International Horn Society and the Advisory Board of the International Horn Competition of America (IHCA).

Ms. Stebleton, a Holton-Leblanc Artist Clinician, is a six-time prize winner in various divisions of the American Horn Competition (now the IHCA). She has traveled the globe as a chamber artist and clinician, having performed regularly as a soloist and clinician in The Dominican Republic, Paraguay and the Czech Republic.  She is in demand as an artist-in-residence for her artistry, her superb teaching, and her outgoing demeanor.  The fact that she speaks enough (terrible) Spanish to conduct a clinic also helps!

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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T.b.a., Trumpet

Michael Kris, Trombone & Tuba

Michael Kris, trombone & tuba, is a Teaching Professor at the University of North Carolina and is also part of the teaching faculty at Duke University. An active performer, he is Bass Trombone with the Eastern Music Festival, Low Brass Mentor of the National Music Festival, Bass Trombone with the North Carolina Jazz Repertory Orchestra, and Principal Trombone of the North Carolina Opera Orchestra and Carolina Ballet Orchestra. He is a former member of the North Carolina Symphony, serving as Principal Trombone and Second Trombone, and has performed with chestras throughout the eastern United States.

Apart from his ensemble work on the modern trombone, Mr. Kris is an active soloist and clinician on historic trombone, performing and teaching internationally. Recently he presented concerts in London with Kings College, London, and Universität Mozarteum in Austria. At the University of North Carolina, he teaches low brass and chamber music. His research concentration is historic trombone and ensemble music of the late Renaissance and the early Baroque.

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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Camilo Carrara Guitar Workshop

Camilo Carrara, guitar, holds a degree in classical guitar from the School of Communication and Arts of the University of São Paulo and has a Masters Degree in Strategic Marketing Management at the São Paulo University School of Economics and Administration. His diverse career includes being a music producer, performer on guitar, mandolin and other strummed instruments, arranger, composer and teacher. His discography consists of more than eighty solo and collaborative ensemble compact disc recordings.

Since 2011 Mr. Carrara has been the producer and arranger of the CD and DVD of the “Bradesco 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 seven years he has been the guitar mentor at the National Music Festival where, in 2012, he premiered his Cadence and Dance for Guitar and Orchestra under the baton of Richard Rosenberg. Performing in Italy, Portugal, Switzerland, Italy, USA, Argentina, Uruguay, Chile, Venezuela, and throughout Brazil, he has a stellar reputation performing many different genres of music–from classical to popular, contemporary music, jazz and pop. 

In 1989 he was an itinerant musician, travelling for nine months throughout Europe, celebrating the Bicentenary of the French Revolution in Paris, witnessing first-hand the fall of the Berlin Wall and busking in parks and subway stations.

Camilo Carrara has produced the soundtracks for major advertising agencies such as Ogilvy & Mather Brazil, Nazca Saatchi & Saatchi, Grey, Taterka, B/Ferraz and Bullet, Carrefour, Vivo, Advil, Leroy Merlin, P & G, Gillette, Unilever, Hyundai, to name but a few. He has been a guest artist 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, Carrara collaborated with Sue Matthews in 2015 to create the compact disc, Foolish Hearts.

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David Brooks, Collaborative Piano

David Brooks, collaborative piano, enjoys a busy musical life as a pianist, violinist, violist, composer, and teacher.  He has performed across the United States and Europe, and was recently a featured artist at IRCAM in Paris.  A winner of several national and international competitions, he now performs a repertoire spanning the avant-garde and the neglected romantics, as well as the established greats.

Especially committed to the performance of new music, David has taken part in the first performances of works by more than 100 composers.  A composer himself, his song cycle First Steps was premiered in Bucharest, Romania, and his Metamorphosis Variations premiered in New York.  More recently, his first full-scale opera, Urban Legend, was premiered at Wingate University.  Also an enthusiastic proponent of the art of transcription, he has transcribed a wide array of works for solo piano by composers ranging from Bach to Penderecki.

In 2014, David joined the faculty of Wingate University in North Carolina, where he is an Associate Professor of Piano and Music Theory.  At Wingate, he founded the new music group ensemble243, which performs extended-techniques-works for “bowed piano.” David previously taught at Adelphi University, and at the Pre-College Academy of Stony Brook University in New York.

David graduated from Western Washington University with double performance degrees in piano and viola, where he studied with Jeffrey Gilliam and Eric Kean.  He studied with Robin McCabe at the University of Washington before completing his doctorate at Stony Brook University with Christina Dahl.

In his spare time, David enjoys studying architecture and design, making hand-crafted wooden furniture, recreating ancient scientific experiments, studying the psychology behind conspiracy theories, and drinking excellent coffee.

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T.b.a., Harp

Diana Loomer, Percussion

Dr. Diana Loomer is the director of the “Steely Pan Steel Band” and a Percussion Instructor at Appalachian State University. She is an active percussionist and music educator, based in the Asheville, NC area. Diana also teaches Percussion Methods classes and has private lesson studios at Western Carolina University and Livingstone College.

Dr. Loomer has a D.M.A. in Percussion Performance from the University of Texas at Austin, a M.M. from Indiana University and a B.M. from Appalachian State University in Percussion Performance. She was the timpanist for the Boston Crusaders Drum and Bugle Corps from 2010-12, and has since developed a passion for “melodic timpani” playing. She is currently working to expand both the potential of the instrument, and the repertoire for this new field. She has since been teaching front ensembles, including the Boston Crusaders Drum and Bugle Corps in 2016, and the Cadets Drum and Bugle Corps in 2017. She was an apprentice at the National Music Festival in 2016 and 2017, and is the first alumnus to join the Festival’s Mentor Faculty.

Diana Loomer has performing experience in many different areas of percussion. She has performed with the Western Piedmont Symphony, Johnson City Symphony, Austin Symphony, and Charlotte Philharmonic Orchestra. She has an extensive background in world percussion, including steel pan, tabla, Afro-Cuban, Brazilian, and West African percussion. She traveled to Ghana in 2014 to study gyil and djembe with Bernard Woma. She is a current member of Zabumba Asheville Samba, and a former member of the Austin Samba School, Maracatu Texas, and the Inside Out Community Steel Band. Diana and her partner, Morgan Tao, form the Blue Iron Percussion Duo. Together, they perform and teach steel drums across Western North Carolina and Tennessee.

 

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Elizabeth Adams, Violin

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Elizabeth Adams, violin, has performed throughout the United States, Canada, and Europe as violinist, violist, and pianist; in settings from solo to chamber music to orchestra. Since moving to Washington, Elizabeth has been in demand as a versatile performer, teacher, adjudicator, and clinician. As a freelance orchestral musician she performs regularly with the Richmond, Annapolis and Maryland Symphonies, Virginia and Baltimore Operas, Washington Concert Opera, the New Orchestra of Washington, and the National Philharmonic. More recently she has been accompanying and training young violinists and violists, because as a string player herself, she has a highly specialized knowledge of the literature.

Recent performance highlights include the Tchaikovsky Violin Concerto with the Mason Symphony Orchestra; Ravel’s Tzigane and Stravinsky’s l’Histoire du soldat at National Music Festival; Schoenberg’s Pierrot Lunaire at Catholic University’s International Piano Series; recitals at the Church of the Epiphany and University of Maryland, and chamber concerts with Kassia Music at Episcopal Church of the Redeemer and the Resonance chamber music series in Chestertown.

She holds both a Master of Music in violin and a Bachelor of Arts in Russian studies from Yale. She has studied violin and pedagogy extensively in both Russia and North America and holds a doctorate in violin from l’Université de Montréal. Elizabeth has studied chamber music with members of the Borodin, Tokyo, and Colorado String Quartets. Her primary teachers include Ani Kavafian, Ricardo Cyncynates, Mikhail Gantvarg and Vladimir Landsman.

Elizabeth has taught at the McGill Conservatory in Montréal, the Levine School in Washington, Neighborhood Music School in New Haven and Orfeo Festival in Italy. Upon completing her DMA, she joined the faculty of the George Mason University School of Music as professor of violin. At Mason she taught violin, viola, pedagogy, and coached chamber music, and served as head of strings.

She is currently on the faculty of the Peabody Preparatory in Baltimore and has a boutique private teaching studio. She coaches sectionals for the American Youth Philharmonic Orchestras (of which she is an alumna) and is the pianist for their Music Buddies mentorship program. Her students are regular prizewinners in competitions and have been accepted everywhere from the Montreal Conservatoire to Harvard, Brown, Peabody Conservatory, and the University of Maryland. Elizabeth is pleased to be returning as a mentor at National Music Festival.

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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” (Boston Globe). 

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 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.  Since then she has performed concerti with many orchestras including Iris Orchestra, Mozaic Orchestra, New Amsterdam Symphony, and the New York Classical Players.   As a concertmaster of the Juilliard Orchestra she has worked with many renowned conductors including Michael Tilson-Thomas, Leonard Slatkin and Nicholas McGegan.

Emily is dedicated to education and maintains various teaching and outreach activities. She served on the Violin faculty of Stony Brook University and has given masterclasses and educational outreach performances wherever her violin takes her. 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 is a winner of the Juilliard Concerto Competition, the SYLFF Fellowship and the Gold Medal at the Fischoff International Chamber Music Competition in the junior division.  She holds Bachelor and Master of Music degrees from The Juilliard School and 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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Jessica Mathaes, Violin

Jessica Mathaes, violin. Hailed “a violinist like no other” (New York Times) and “a master of the Khachaturian violin concerto” (Austin Chronicle), Jessica Mathaes enjoys an international career as a soloist, recording artist, educator and concertmaster.

As a guest concertmaster, Mathaes has led the Royal Liverpool Philharmonic, the Bournemouth Symphony Orchestra, and the West Australian Symphony Orchestra. She has also been engaged with the Rochester Philharmonic, Houston Grand Opera, Houston Ballet, San Antonio Symphony, and Grand Teton Music Festival Orchestras. In 2005, Mathaes was appointed concertmaster of the Austin Symphony, becoming both the youngest and first female concertmaster of the orchestra in its over 100-year history.

As a soloist, Mathaes has been broadcast live on Performance Today and Chicago Public Radio, and has performed throughout Singapore on a solo and masterclass tour sponsored by the US Embassy. She has also performed as a soloist with the Austin, Victoria, Bismarck-Mandan, Round Rock, and Northwest Iowa, Masterworks. She has premiered works by many American composers including Pierre Jalbert and Paul Reale, and has released solo albums on the Naxos and Centaur labels to critical acclaim in Gramophone. She has served on the faculty of the Credo Music Festival, the International Festival-Institute at Round Top, and the Masterworks Festival, and her students have gone on to earn spots at top music schools in the United States.

Born in Chicago, Mathaes grew up in Omaha, Nebraska, where she was concertmaster of the Omaha Area Youth Orchestra and made her solo debut at age 16 playing the Saint-Saens Violin Concerto No. 3. She was also an award-winning pianist in her youth. Mathaes holds performance degrees from Rice University, where she graduated magna cum laude.

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Dana Goode, Violin

Dana Goode, violin, began touring and performing at age 16 as a member of a chamber ensemble  directed by 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 Kammerorchester. 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 at the Peabody Conservatory, as a student of Berl Senofsky, and a Master’s Degree in Violin Performance (’86) with Mitchell Stern of the American String Quartet.

Ms. Goode also holds an M.A. degree from St. John’s College in Annapolis). A former faculty member at Morgan State University, Loyola University, and Notre Dame of Maryland, she continues to teach at Stevenson University, where she is concertmaster and assistant conductor of The Greenspring Valley Symphony, led by Dr. Harlan Parker.

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 and  National Chamber Orchestra in addition to several local chamber ensembles,  She has served on the Board of Directors of the National Music Festival, and has been mentoring in the festival since its inaugural season in Floyd, Virginia.

 

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Francesca Anderegg, Violin

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. 

Since her Carnegie Hall debut performance in 2008, Ms. Anderegg has performed in national and international venues, including Brooklyn’s National Sawdust, The Arts Club of Washington, the National Museum of Colombia in Bógota, and many others across the world. Her four solo albums have been featured on national radio programs, and noted for their “stunning virtuosity” (Fanfare Magazine), “lustrous tone” (The Strad Magazine), and “riveting listening experience” (Second Inversion). Ms. Anderegg’s appearances include Chicago’s Symphony Center and Manhattan’s Metropolitan Museum of Art with Itzhak Perlman and members of the Perlman Music Program.   

Ms. Anderegg has been a fierce advocate for new music since she made her New York concerto debut performing Ligeti’s Violin Concerto with the Juilliard Orchestra. She performed Daniel Schnyder’s jazz-influenced Violin Concerto with Orchestra for the Next Century, and worked with Pierre Boulez at the Lucerne Festival in Switzerland. With her husband, the Venezuelan composer Reinaldo Moya, Anderegg has created unique collaborative projects exploring Latin American literature and imagination. In 2019, she premiered Moya’s Violin Concerto at the Lakes Area Music Festival with conductor Gemma New.

Anderegg holds degrees from Harvard University and The Juilliard School, where her teachers included Robert Mann, Ronald Copes, and Naoko Tanaka. She is a laureate of the Corpus Christi Competition and winner of fellowships from the McKnight Foundation and the Leonore Annenberg Fund.  Her festival appearances include the Tanglewood Music Center, the National Music Festival, Music in the Vineyards, and Yellow Barn. An enthusiastic educator of young musicians, Anderegg is Associate 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. In 2011/2012, she spent a 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 in Houston and Los Angeles, 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. For more information, please see the Trios for Two page.

In addition to Garth Knox, her principal teachers have been Peter Slowik, Carol Rodland, and James Dunham. 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. 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, and Vanderbilt University, among others, 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 National Music Festival, Sewanee Summer Music Festival, the Montecito International Music Festival, and the International School of Stuttgart.

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 taught an honors course on music and the brain for five years 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 and at schools and universities around the country.

From 2014-2019, she taught viola, music theory, and aural skills at the University of Wisconsin-Eau Claire. Starting in the fall of 2019, she joined the faculty at the Fred Fox School of Music at the University of Arizona as Assistant Professor of Viola.

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Gregory Williams, Viola

Gregory K. Williams is the Principal Violist of the Berkshire Opera Festival, and Assistant Principal Violist of the Hudson Valley Philharmonic and the Washington Heights Chamber Orchestra. He is also one half of the Golden Williams Duo, a viola-cello duo committed to performing music written by a diverse array of composers. He was the founding violist with Rhymes With Opera, and has performed as a core member of the Red Door Chamber Players. He has also performed with the American Ballet Theater, Albany Symphony, New Haven Symphony, Vermont Symphony, Binghamton Philharmonic, Parlando, Symphony in C, The Orchestra Now, the Syracuse Symphony, and at the Aspen Music Festival. His performances include solo recitals in the Netherlands, Germany, Poland, the Czech Republic, and throughout the United States. He has also appeared with popular artists such as Peter Cetera, Roger Daltrey, Jane Birkin, Iggy Pop, and the Three Irish Tenors. Additionally, he recorded on the concept album for the new musical Goodbye New York.

As a conductor and orchestral coach, Dr. Williams has worked with several student ensembles, including the Metropolitan Youth Orchestra (Long Island), and the Greater Boston Youth Symphony Orchestra. He has been a guest conductor for several All-County Orchestra festivals, including the Schoharie County Music Educators Association (NY) in April 2020. He has also conducted at the Southampton String Festival, the LIU-Post Summer Music Festival, and the Queens College String Ensemble.

Dr. Williams has been on the viola faculty of the Aaron Copland School of Music at Queens College, CUNY since 2012, where he has taught upper string methods and coached chamber music. He is also thrilled to be serving as a viola mentor at the National Music Festival in Chestertown, MD. He has taught viola and chamber music at the Mountain Springs Chamber Music Festival in Draper, Utah. He has served on the string faculties of Saint Francis Preparatory School (Queens, NY), Kellenberg Memorial High School, the Ross School, and at the NYSSSA School of Orchestral Studies in Saratoga Springs. He has maintained a private viola and violin studio both in person and online in the New York Metropolitan area since 2008.

Greg Williams received his Doctorate in Viola Performance at the CUNY Graduate Center, where he studied with Karen Ritscher and Dr. Linda Sinanian. Previously, Dr. Williams studied with Michelle LaCourse at Boston University, where he received his Bachelor’s Degree in Viola Performance, and with George Taylor at the Eastman School of Music, receiving his Master’s Degree in Viola Performance and Literature. He is currently the New Music Editor for the American Viola Society.

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Diana Golden, Violoncello

Diana Golden (violoncello) is a multidimensional artist who performs with chamber ensembles, symphony orchestras, and musical theater and opera companies. Her expertise ranges from traditional to Solomon, and Platinum Girls by Andrew Beall, recorded on Broadway Records, and the YMCA commercial “The Y: One Number Different.”

An active chamber musician, Golden is a member of the Golden Williams Duo with violist Gregory Williams, which focuses on collaborations with living composers and has premiered works such as Clarissa Baquiran’s ŠĮŃGKÏŁ, David Wolfson’s Mood Swings and Michael Kosch’s Sassetta, and with the Red Door Chamber Players, a nine-member ensemble based on Long Island. She founded the Boston-based Firebrand Concert Series and performed and served as Artistic Director for three seasons.
As an educator, Golden has coached chamber music and taught private lessons for cellists of all levels and ages. She is currently a Lecturer of Music for Washington College, and a faculty member for the Before School Music program at the Ethical Culture Fieldston School. She is the Founder and Director of the Red Door Chamber Partners Educational Program and a member of the cello faculty for Mountain Springs Music Festival in northern Utah. In 2011, Golden began working for Open Access to Music Education for Children, a music center for Boston’s Haitian community run by Youth and Family Enrichment Services. While working with cello students who had left Haiti after the 2010 earthquake, Golden found that learning music, including traditional Haitian folk songs, helped them to adjust to their life changes and deal with trauma they had experienced. This experience inspired her nearly decade-long interest in Haitian art music.
Her article “Staging the Nation Through Mizik Savant: Art Music of the Haitian Diaspora” was published in the Fall 2018 issue of The Journal of Haitian Studies, Vol. 24, No. 2. Along with Shawn Chang, she presented lecture recitals on Haitian music for cello and piano at the 5th Symposium of Caribbean Art Music held at the Conservatorio de Música de Puerto Rico and at Montreal’s Conservatoire de musique et d’art dramatique du Québec, hosted by the Société de recherche et de diffusion de la musique haïtienne. In 2012, Golden served as a Guest Teaching Artist for the summer program at the École de Musique Dessaix-Baptiste in Jacmel, Haiti.
Golden’s new album Tanbou Kache (Hidden Drum), out October 2020 on New Focus Recordings, highlights Haitian cello and piano music by Justin Élie, Werner Jaegerhuber, Frantz Casséus, Carmen Brouard, Julio Racine, Daniel Bernard Roumain, and Jean “Rudy” Perrault. Recorded with pianist Shawn Chang, the album celebrates Haiti’s rich and fascinating tradition of art music and outlines the stylistic and chronological trajectory of key composers within this tradition from the 20th century to the present.
Golden holds a Doctorate of Musical Arts in Cello Performance from Rutgers University, where she completed her doctoral research on Haitian art music. She also holds a Master of Arts in Cello Performance with Distinction from the Royal Academy of Music in London, a Bachelor of Arts degree in English from Cornell University, and a Bachelor of Music degree in Cello Performance from San Francisco Conservatory of Music. Golden’s primary teachers were Jean Michel Fonteneau, Mark Kosower, Felix Schmidt, and Jonathan Spitz. Golden has also received instruction from renowned artists including Bernard Greenhouse, Colin Carr, Fred Sherry, Steven Doane, Alan Harris, Matt Haimovitz, Philip Mueller, and Sadao Harada. She was awarded a Hill and Hollow Artist Residency in 2013, John Baker Career Development Award, Sir Stapley Educational Trust Award, and a Bursary Award from the Royal Academy of Music. Learn more here.

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Natalie Helm, Violoncello

Principal Cello of the Sarasota Orchestra, American violoncellist Natalie Helm has been praised as having a sound that “catches the attention of the room” and “leaves a lasting impression”. LA Times proclaimed the audience “was transfixed” by her performance. A cellist of “musical grace” and extraordinary versatility, Helm enjoys a dynamic career as a soloist, chamber musician, orchestral musician, and educator.

Helm’s recent engagements include solo appearances with the Sarasota Orchestra, Dana Point Symphony, and Montgomery Symphony Orchestra. Chamber appearances include recitals throughout the U.K. and U.S. with the genre-crossing DuoSkope and Sorella Duo. You can find Helm on iTunes, Amazon Music, and Spotify.

Helm has had the opportunity to perform internationally throughout Italy, Germany, and Japan. In 2016, she toured the United States and performed in over 30 cities in three weeks. Helm’s performances have been broadcast on NPR, iHeart Radio, Fox News, and PEOPLE Magazine.

Music is a powerful elixir for change and Helm has embraced this idea through Upward Notes. As the founder, she brings musicians together to perform and create opportunities to bring positive social change to the communities she works in.

Natalie spends her summers on faculty at Interlochen Arts Camp, Curtis Institute of Music’s Summerfest, and Associate Faculty at the Sarasota Music Festival. She gives masterclasses at USF and been on the faculty of the Pasadena School for Strings in Pasadena, California, Montgomery Music Project in Montgomery, Alabama, and Go-go Allegro in Boston, Massachusetts and was a member of the Des Moines Opera Festival for three seasons.

Helm plays on a Raphael di Blasio cello from 1803.

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Yoshiaki Horiguchi, Double Bass

Yoshiaki Horiguchi , double bass, now on the faculty of Towson Univeristy, has served as guest principal bass for the Apollo Chamber Orchestra, the Lancaster Symphony Orchestra, and the New Orchestra of Washington. Mr. Horiguchi is currently the bassist for the National Chamber Winds and a founding member of the award-winning Trio Jinx. He has collaborated with a broad range of artists such as Zuill Bailey, Judith Ingolfsson, Hal Robinson, Alex Fiterstein, Michael Kannen, Wendel Patrick, Shodekeh, Don Vappie, Tony Arnold, Lauren Ruth Ward, and more. Yoshi, not being a stranger to life on the road, has also performed around the United States at the Sitka Summer Music Festival, Mesa Arts Center, Iowa Great Lakes Music Festival, El Paso Pro Musica, the Kennedy Center, Fischoff Chamber Music Competition, and more.

In addition to being an active performer and educator, he is also a sought after pedagogue and string specialist. Mr. Horiguchi has served on the faculty for the Peabody Conservatory, Baltimore Symphony’s, El Sistema inspired, ORCHkids program, Shenandoah Conservatory, Bass Works, the Peabody Preparatory, American Music System Camps, York College of PA, UMBC, the International Society of Bassists Young Bassists division, and more. He has presented pedagogy research at the International Society of Bassists convention, and is certified in the Mark O’Connor string method; and has studied string pedagogy under Christian Tremblay and Bai-Chi Chen from Peabody. His passion and drive for students to study pedagogically beneficial and accessible music has inspired him to arrange works that are being performed around the world.

Yoshiaki Horiguchi graduated with honors as a Linehan Artist Scholar at the University of Maryland, Baltimore County where he graduated with a Bachelor’s Degree in double bass performance and music education. From UMBC, he also earned his teaching certificate and won the 2011 concerto competition. He then graduated as an Aegon USA scholar at the Peabody Conservatory at the Johns Hopkins University for his Master’s Degree in double bass performance and pedagogy and he is finishing his Doctorate of Musical Arts at Peabody. He has attended the Hot Springs Music Festival, National Music Festival where he worked with Robert Stiles, the Imani Winds Chamber Music Festival, and WaBass Festival. Yoshi proudly hails from the studios of Ed Malaga, Jeff Koczela, Laura Ruas, Paul DeNola, and Paul Johnson. In his free time, Yoshi enjoys wearing primary colors, playing ultimate Frisbee, swing dancing, and expanding his sock collection.

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T.b.a., Library

Alan Rothschild, Piano Technology

Alan Rothschild, piano maintenance, is also a member of the Board of Directors of the  National Music Festival. He is a certified piano technician who specializes in tuning, repair, regulation, and action rebuilding. He earned a Bachelor of Arts in Music from Earlham College and was certified in piano technology by the New England Conservatory, where he studied with long time Boston Symphony technician Frank Hanson. Following his graduation from NEC, he held an apprenticeship at the Tanglewood Music Festival. He attends classes often in order to hone his skills, and has participated in the Steinway at Oberlin piano technology program. In addition to his full-time position at Berklee College of Music and the Boston Conservatory at Berklee, he has private clients in D.C., New York, and Boston, and he works for the Boston Symphony Orchestra, New England Conservatory, and Wellesley College. Mr. Rothschild lives in Jamaica Plain, MA, where in his free time he enjoys cooking, reading, exploring new cuisines, and singing as a tenor in Boston Cecilia. 

 

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Kevin Bourassa, Recording Engineering

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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Jeffrey Padgett, Stage Management

Jeffrey Padgett, stage management, is a native of North Carolina and currently resides in New York City, where he has worked in theatre, film, and TV.
Mr. Padgett studied technical theatre at Western Carolina University and graduated with a Bachelor of Arts in Stage & Screen, with a focus on theatre design and production.

Mr. Padett’s technical experience includes scenic carpentry, technical direction, scenic design, electrician, rigging and orchestra production. He currently works on the television series Law & Order: Organized Crime in their art department. Previously, he was the Master Carpenter for Playwrights Horizons in New York City, an off-Broadway theatre that specializes in new works.

Mr. Padgett has also built sets for the Lincoln Center and worked on the Macy’s Thanksgiving Day Parade. Prior to moving to New York, he worked for regional theatres and also for Royal Caribbean Cruise onboard Rhapsody of the Seas in the ship’s Broadway Melodies Theatre. Mr. Padgett got his start stage managing for orchestras at Brevard Music Center during their summer season in 2016.
He is excited to return to the National Music Festival for the third year!

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Alexander Humala, Guest Conductor, 2023

Maestro Alexander Humala, originally from Belarus, is the Artistic Director of the Krakow Philharmonic in Poland. He has been characterized as a keen, sensible and bright music ideas maker, who is always been able to create new and inspirational music. Having combined backgrounds of a strong Russian music tradition with European musical and cultural development, is a distinctly promising musician.
Maestro Humala studied choral and symphony conducting at Belarusian Academy of Music and Rotterdam Conservatory, and further studies with  Collin Metters, Jorma Panula, Yoel Levi, Peter Eotvos, and Marin Alsop; and he assisted Stanislaw Skrowaczewski, Christoph Eschenbach, Lorin Maazel, Krzysztof Penderecki, Richard Rosenberg and Martyn Brabbins. He won the first prize at the Jazep Vitos international conductor competition in Riga 2009, and the first prize at the International choir conducting competition Toward Polyphony in Wroclaw 2011. He was twice  laureate of the Grand Prize of the President of the Republic of Belarus, and was named Man of the Year of Minsk in 2017. Via a “Gaude Polonia” scholarship provided by Polish Ministry of Culture and National Heritage (2009 and 2012), he gained further experience as assistant conductor with the Wroclaw Opera House and Warsaw Philharmonic Orchestra. In 2010 he received the Huygens Scholarship, provided by the Dutch Ministry of Culture reserved for the the most promising students in the Netherlands. From 2014 to 2016 he was assistant conductor at the Polish National Radio Symphony Orchestra in Katowice, and from 2018 conductor-intern of the National Philharmonic Orchestra of Russia with Music Director Vladimir Spivakov.
Alexander Humala participated in music festivals including the Lucerne Festival Academy Orchestra, Parnu Summer Festival, St. Magnus festival in Orkney Island, Castleton festival, Cabrilo Festival and the National Music Festival––where he will be, in 2023, the first NMF Conducting Apprentice to return as Guest Conductor. He served as a Chief Conductor at the Magutny Boza music festival, and was Music Director of the Minsk Festival Project Orchestra, where he organized several programs from baroque to contemporary repertoire. Humala has guest conducted the Netherlands Symphony Orchestra, Haifa Symphony Orchestra, Belarus Philharmonic Orchestra, Latvian National Philharmonic Orchestra, Krakow Philharmonic, Polish Radio Orchestra in Warsaw, National Philharmonic Orchestra of Russia and the Polish National Radio Symphony Orchestra in Katowice, and more; and as opera conductor at the Wroclaw Opera, Baltic Opera, Lyon National Opera, and Yekaterinburg Opera, and conducted at the Masterclass of Russian Opera repertoire for singers organized by The International Vocal Competition’s-–Hertogenbosch and the Dutch National Opera. Since 2013 Alexander Humala has also served as the Chief Conductor and Artistic Director of the Belarusian State Chapel “Sonorus.”
Maestro Humala’s upcoming season highlights includes debut with Warsaw Philharmonic Orchestra, continued collaborations with the Polish National Radio Symphony Orchestra, and the National Philharmonic Orchestra of Russia.

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Caitlin Patton, Executive Director

Caitlin Patton, executive director, is a Standards for Excellence® Licensed Consultant. She 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 teaches violin, viola, and cello, and is the director of the Fiddlesticks! Program. Her first book, How to Build Capacity in Your Small Nonprofit, was published in 2012.

Caitlin is also a singer and recently gave her first solo voice recital, with NMF Collaborative Piano Mentor Sammy Marshall at the piano. She sings in the Chester River Chorale as well as its two auditioned ensembles, the Chester Chamber Singers and River Voices. She serves as president of the Chester River Chorale.

Caitlin lives with her husband, NMF Artistic Director Richard Rosenberg, on a small farm in Galena, MD, with a herd of goats, five dogs, four cats, three horses, and a flock of turkeys, ducks, geese, and chickens–all endangered heritage breeds. An active animal rescue advocate, she has fostered 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 Animal Care Shelter for Kent County.

Email: caitlin@nationalmusic.us

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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.  

Richard has performed as guest conductor in Asia, 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, and he will co-direct the First International Orchestral Conducting Academy & Competition in Estoril, Portugal this October. His recent engagements include concerts with the Torun Symphony (Poland), 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 Rosenberg’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.

He received a Rackham Fellowship to work 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 had never been performed. Rosenberg conducted the world premiere of the overture in 2011 and is transcribing and editing the entire work for future performance. He rediscovered Cole Porter’s last musical, Aladdin, which he then premiered in its original version.

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.

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, for the Naxos Records label. 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 will be released in 2021 with Richard Strauss’ “Metamorphosen” for Centaur Records) and the complete orchestral music of Gottschalk (which he has just prepared for publication) have received numerous performances. 

His students presently hold positions with the New York Philharmonic, Boston Symphony, Cleveland Orchestra, Boston Philharmonic, Union Symphony, Hot Springs Music Festival, Pittsburgh Symphony, Orchèstre Radio France and the Nashville, Saint Louis Symphony and Savannah Symphonies.

Email: rr@richardrosenberg.net

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