Biography

Mike Aiese:  bass guitar

Russ Austin:  guitar

Helen Avakian:  guitar

Stephanie Backofen:  voice

Ed Baxter:  mandolin

Denis Bisoglio:  drums

Harvey Boyer: keyboards

*Melissa Brown:  bassoon

Richard Carr:  violin

Terry Champlin:  guitar

Tina Ciarlante:  voice

Tom Conroy:  keyboard, music director

Carole Cowan:  violin

Lynne Cunningham:  flute

Donald Dales:  piano

Stan Davis:  recorder

Mary Dietrich:  voice

Carlo DiRosa:  double bass

Paul Duffy:  keyboard

Chris Eberle:  bassoon

John Esposito:  jazz piano

Joel Evans:  oboe

Diane Fedora:  bassoon

Harvey Feldman:  bassoon

Luis Garcia-Renart:  cello, music director                 

John Gullo:  voice & guitar

Philip Hale:  keyboard,  music director

Ryan Hall:  viola

Sheila Hamilton:  flute                         

Mike Harelick:  voice & guitar

Kelvin Hill:  bassoon

Barbara Hardgrave:  voice

Maggie Hollenbeck:  keyboard, music director 

Michael Holober:  jazz piano

Melody Huffer:  bassoon                    

Bruce Jackson:  double bass          

Dennis Jones:  drums                           

Kimberly Kahan:  voice

Akiko Kamigawara:  violin

Cecelia Keehn:  voice

Tom Keehn:  voice, trombone

John Knight:  bassoon

Nanette Koch:  cello

Ling Kwan:  cello

David Kwiecinski:  guitar

Briana Lehman:  bassoon

Mary Leonard:  recorder

Karen Levine:  percussion

Nicole Levine:  clarinet

Randy Loder:  keyboard, music director

Savia London:  voice

Cornelia MacGyver:  bassoon

Bryce Mainieri:  voice & guitar

Laura Majestic:  harp

Pauline Mancuso:  flute

Molly Mason:  guitar

Francis Mejia:  bass guitar

Sevan Melikyan:  drums

Nicole Minielli:  voice

Kitty Montgomery:  voice

Jonell Mosser:  voice

Rob Murphy:  violin

Jack Nelson:  voice

Phil Nestor:  drums

Jim Noecker:  voice & keyboards

Yameil Nunez: vocals

Dewi Pangaribuan:  voice

Randi Parker:  trumpet

Lynn Peck:  flute

*Tony Penz:  clarinet

Barbara Pickhardt:  piano, conductor

Erica Pickhardt:  cello

Sue Pilla:  flute

Mike Ralff:  bass guitar

Sarah Restifo:  flute

Charlie Robitaille:  guitar

Elisabeth Romano:  bassoon

Eric Roth: guitar

Barbara Rizek-McGuckin:  flute

*Allison Rubin:  oboe

Karen Sahulka:  viola da gamba

Anita Shamansky:  voice

Andrea Shaut:  piano

Bob Shaut:  saxophone

Susan Seligman:  cello

Wayne Simpson:  bass guitar

Anastasia Solberg:  viola

Cush Solberg:  cello

David Spring:  keyboard, sax & music director

Eliott Steele:  keyboard

Chuck Stevens:  drums

Susan Parkyn Strauser:  voice

James Sullivan: banjo

Kay Sutka:  clarinet

Melissa Sweet:  flute

David Temple:  guitar

*Marisa Trees:  flute

Rob Turner:  cello, voice & guitar

Kristen Tuttman:  piano

Jay Ungar:  fiddle

Richard Udell:  guitar

Matt Ulrich:  voice

Craig Vandewater:  bassoon

John Vette:  double bass

Jean Vilkelis:  cello

Niels Waller:  guitar

Fred Waring:  drums

Glenn West:  bassoon

Jim Wezgryn:  bass guitar

Lori Willoughby:  bassoon

Danielle Woerner:  voice

Liam Wood:  guitar

T. Xiques:  drums

* pictured at a Woodstock Chamber Orchestra benefit chamber music concert at Manor Lake (2010)

Allegro Music, Kingston, NY

Barcone's Music Center, Kingston, NY

Music Dept. & Credit-Free Continuing Education Dept. at  SUNY Ulster

(aka Ulster County Community College), Stone Ridge, NY

Walkill, Shawangunk & Eastern Correctional Facilities (through U.C.C.C.)

Music Dept. at SUNY New Paltz, New Paltz, NY

Bard College, Annandale, NY

Ellenville High School (Performing Arts Academy), Ellenville, NY

NRS studios, Catskill, NY -- with Arabesque Trio (2001-2003)

The Clubhouse, Rhinebeck, NY -- with Ars Choralis (2009)

Utopia studios, Bearsville, NY -- with Ars Choralis (1999)

Daphne Weld Nichols/Synergism (GD & Parnassus Duo), Dion Ogust (GD), Dan Chidester, Bob Haines

for Daily Freeman (GD), Michael Gold (GD), Howard Herman (GD & Akiko Kamigawara), Phil Book,

Tania Barriklo (Ars Choralis), Santino Rovereto, Cynthia del Ponte (Cantilena), Chris Johnston (Arabesque Trio), Ed Surowitz (TimePieces)

articles:

live music reviews -- Woodstock Times

CD reviews -- "Instant Classics" column for Kingston Daily Freeman's "Preview" Magazine (1991-1994)

Segovia reissued LP review -- Journal of the Association For Recorded Sound Collections (1978)

articles on guitar/lute -- "The Essential Listening Companion to Classical Music" (Third Ear - 2003)

music:

"Theme, Variations and Fugue" by Herbert Haufrecht, fingering by GD, published by Bourne Co.

"Paduana" by Isaias Reusner, transcribed by GD, published by Music Arts Graphics

"Four Mazurkas, Op. 17" by Frederic Chopin, transcribed by GD, published by Music Arts Graphics

concert series:

Lunch ’n’ Listen, Poughkeepsie

Pacem In Terris, Warwick

Shawangunk Chamber Music Series, Pine Bush

"Clifftop Concerts" at Lake Minnewaska

Philipstown Concerts, Cold Spring

Rhinebeck Chamber Music Society

Andes Musical Moments, Andes

Mid-Hudson Classical Guitar Society, Rhinebeck

John St. Jam, Saugerties

“Fascinating Rhythms” Series, Kleinert Arts Center, Woodstock

Cami Hall, New York City

Hudson Valley Classical Guitar Society, New Paltz

“Live at the Library,” Woodstock Library

organizations:

The Pone Ensemble

New Paltz Summer Repertory Theatre

Golden Stone Productions

Shadowland Stages Theater

Mid-Hudson Women’s Chorus

New York Conservatory of the Arts Theater Company

Rhinebeck Theatre Society

Gilbert & Sullivan Musical Theater Company

Ars Choralis

Mid-Hudson Classical Guitar Society

Woodstock Chamber Orchestra

Hudson Valley Philharmonic Orchestra

Cappella Festiva

Rhinebeck Chamber Music Society

Hudson Valley Recital Project

Rondout Valley High School

Cairo-Durham High School

libraries:

Ellenville Public Library

Olive Free Library, West Shokan

Woodstock Library 

Morton Library, Rhinecliff

churches:

Holy Cross Church, Kingston

Walkill Reformed Church

Redeemer Lutheran Church, Kingston

St. John’s Roman Catholic Church, West Hurley

Old Dutch Church, Kingston

St. Paul’s Lutheran Church, Red Hook

Reformed Church of Saugerties

Christ Episcopal Church, Greenville

Overlook Methodist Church, Woodstock

St. John’s Episcopal Church, Ellenville

St. James Church, Hyde Park

Christ Lutheran Church, Woodstock

First Evangelical Lutheran Church, Poughkeepsie

St. Gregory’s Episcopal Church, Woodstock

Gardiner Reformed Church, Gardiner

St. Timothy’s Lutheran Church, Hyde Park

New Paltz Methodist Church, New Paltz

Hyde Park Reformed Church, Hyde Park

St. John’s Evangelical Lutheran Church, Poughkeepsie

historic sites:

Roosevelt - Vanderbilt National Historic Site, Hyde Park

S. F. B. Morse State Historic Site, Poughkeepsie

Washington’s Headquarters State Historic Site, Liberty

The Senate House Historic Site, Kingston

schools:

Dutchess County Community College (DCCC), Dutchess Hall, Poughkeepsie

Music Institute of Sullivan & Ulster counties (MISU), Ellenville

Vassar College, Skinner Hall, Poughkeepsie

Bard College: Blum Hall, Bard Hall, Chapel, Olin Hall

SUNY Ulster, Quimby Theater

McCarter Theatre, Princeton, NJ

SUNY New Paltz: Shepard Recital Hall, Studley Hall, McKenna Theatre, Parker Theatre

New England Conservatory of Music, Boston, MA

Perkins School For the Blind, Worcester, MA

other:

Mohonk Mt. House, New Paltz

Mills Mansion, Staatsburg

Woodstock Artist Association, Woodstock

The Sheeley House B&B, High Falls

Maverick Concert Hall (“Prelude” programs), Woodstock

Pucker-Safrai Gallery, Boston, MA

Kleinert Gallery, Woodstock

The Elmendorff Inn, Red Hook

Byrdcliffe Theatre / Woodstock Guild

The Fountains at Millbrook

Solway House, Saugerties

Katsbaan Art Center, Tivoli

Creative Music Studios, West Hurley

Woodstock-New Paltz Arts & Crafts Fair, New Paltz

Opus 40, Saugerties

Comeau House, Woodstock

The Chance, Poughkeepsie

Ulster Performing Arts Center (UPAC), Kingston

Arts Society of Kingston (ASK)

The Howland Center, Beacon

Woodstock Playhouse, Woodstock

Unison Arts, New Paltz

Mountainview Studio, Woodstock

“Manor Lake,” Kingston

Hebrew Tabernacle of Washington Heights

“This serious, accomplished artist capped the evening with a superb performance [of Barrios’ La Catedral] that left us satisfied as at the end of a fine meal.  Greg Dinger is a young man with tremendous sensitivity and touch on the classical guitar.  Don’t miss his playing.  You’ll thank yourself for it.”

Allan Duane - Daily Freeman (1981)

“Mr Dinger made the most of [Scarlatti on the guitar], and the performance captured the inventinveness and rhythmic verve of the music very effectively.  Clear textures and sustained momentum brought particular vigor to the fast movements.  The Bach had exciting, demanding tempos … and the pacing of the Chaconne was well-planned.  The Malats encore also received a lively assured performance.”

Lawrence Kramer - Taconic Newspapers (1982)

“…A very effective and worthwhile recital.  Manuel Ponce’s Twelve Preludes are engaging little pieces, covering a wide ranger of styles from quasi-Bach to Mexican folklore.  [Dinger’s] playing ha lovely tone (the guitar sounded particularly good in the church), good rhythmic impulse, and some very beautiful phrasing.  [Albeniz’ Asturias] was exciting and dazzling in its outer sections with good lyrical contrast in the center.  The Bach [Lute Suite No. 3] was respectful of Baroque conventions, yet outgoing and expressive.  Giuliani’s  Variations on a Theme by Handel …was colorful, with a great deal of rapid, accurate playing and hardly a dropped note.   …The music of Leo Brouwer, a Cuban guitarist who writes some of the most advanced music being composed for this instrument … brought out the most assuredly virtuosic playing of the recital.  Elogio  de la Danza and Canticum were played with very strong projection, and then La Espiral Eterna had me on the edge of my seat, although I know the piece well. ”

Leslie Gerber - Woodstock Times (1980)

“GUITAR RENDERS A POETIC TOUCH

…[DINGER] plays with introspection and marked poetic touch.  …his phrasing is sure and he can extract surprisingly effective color contrasts from his instrument.  He tossed [Turina’s Fandanguillo] off with complete confidence.  This reviewer has heard [these Barrios waltzes] performed by artists of international renown and it is a pleasure to report that Dinger’s rendition of these gems did not suffer at all in comparison.”

Nathan Scheib - Daily Freeman (1981)

“In Bach’s 4th Lute Suite the playing was full of character.  …It’s a pleasure to hear Greg play Baroque music with embellished repeats, a most satisfying performance practice rarely observed today.  …[Barrios’] Estudio de Concierto is a virtuoso treat, and it received a virtuoso performance.  Even more exciting is the Dance Maxixe … his playing was almost as dazzling as that of John Williams in a notable recording.  I was impressed with the artistry of this recital and pleased with the performers artistic growth as it continues.”

Leslie Gerber - Woodstock Times (1985)

“Dinger’s musical ability was visibly clear throughout the performance …the passion and emotion he expressed was evident and enchanting.  It truly was something special to watch the dedication and emotion with which he played.”

Jacob Rothberger - The Oracle (1991)

“STRUMMING TO PERFECTION

Gregory Dinger’s acoustic guitar playing kept the packed audience at Studley Theater on Tues. Feb. 26 in awe.  There was no singing and no elaborate light, just Dinger sitting on a stool with his guitar playing every note with style and grace.  His inspiring love for these composers was evident throughout the three-page handout on their history that was given to the audience along with the program as they walked in.  He showcased these composers enduring vision with his own creative style and played each song as if he were telling a story.  The fast intricate pickings were playful and powerful; they invigorated and brought joy to the audience.  The serene slow notes wailing sorrowfully brought a whole wave of hating emotions to everyone.  Dinger sitting with his handmade instrument in hand displayed the effortless beauty that can be created through a guitar.”

Maritza Norr - The Oracle (2002)

 praise for The Arabesque Trio:

"[I celebrate the] musicianship, virtuosity and voicing of each player...in what just might become 

the next traditional ‘classic’ combo. A musically fastidious performance.” 

Kitty Montgomery - Kingston Freeman (1992)  
 

  “...A wide and varied dynamic range, virtuosity and musical expressiveness. ...[Dinger's] arrangements display intelligent, musical decisions... The individuals blend into a single organism. They are three terrific instrumentalists.” 

Howard Vogel - Woodstock Times (1999)  

 “…Dinger’s playing was first-rate [in the Villa-Lobos Guitar Concerto].  He fulfilled every technical challenge this piece offered and shaped the music with rhythmic elasticity and dynamic variation.  Conductor [Luis Garcia-Renart], soloist, and orchestra were in tune with each other’s feeling and made of this work, written for Andres Segovia in 1951, a tour de force of expressive playing.”

Howard Vogel - Woodstock Times (1993)

“[In Rodrigo’s Concierto de Aranjuez] Dinger’s transparent articulations, evocative without rambling discursive from the ensemble …let profound emotion wake among us as our own, with the orchestra achieving fusions surpassing timed synchronization.”

Kitty Montgomery - Daily Freeman (2004)

“Gregory Dinger cast his own kind of spell in his guitar solo with the orchestra, Fantasia para un Gentilhombre by Joaquin Rodrigo.  Dinger evoked the mood of each of the four parts of the work, 

with the orchestra under Garcia-Renaat also flawless and compelling in their roles.  Whether the 

mood was stately, or flaring in a dance patter, Dinger and the orchestra transported the audience 

to the Spain of everyone’s imagination — and perhaps reality.  This was a perfect match between 

soloist and orchestra.”

Marianne Darrow - Ulster County Townsman (1999)