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Richard Masters

Richard Masters, Associate Director of the School of Performing Arts and Associate Professor

Richard Masters, Associate Professor
Richard Masters, Associate Director of the School of Performing Arts and Associate Professor

School of Performing Arts
242B Squires Student Center
290 College Avenue
Blacksburg, VA 24061
540-231-0340 | rjm2946@vt.edu

Pianist Richard Masters maintains a multifaceted career encompassing solo recitals, chamber music partnerships, opera conducting, writing, and teaching. He serves as Associate Professor of Piano and Collaborative Piano at Virginia Tech, where he is also the Associate Director of the School of Performing Arts.

His recent concert calendar includes appearances at the Isabella Stewart Gardner Museum, the English Music Festival in Oxfordshire, the San Francisco Conservatory, and the Schola Cantorum in Paris. As a collaborative artist, he has performed alongside Grammy Award–winning baritone Donnie Ray Albert, flutist Valerie Coleman, Juilliard Quartet violinist Earl Carlyss, and under the baton of legendary conductor Lorin Maazel at the Kennedy Center. Masters’s discography includes releases on the Albany Records, Blue Griffin, E-M Records, and Heritage Records labels. His 2020 album with sopranos Emily Martin and Ariana Wyatt, Let Evening Come: American Art Songs Old and New (Albany Records), was named one of the year’s best classical recordings by Chicago Tribune critic Howard Reich.

Masters is particularly distinguished for his advocacy of the solo keyboard works of English composer John Ireland, performing them across the United States and the United Kingdom. His recording of Ireland’s delicate miniature The Cherry Tree has been broadcast several times on BBC Radio 3, making him the only American pianist to be so featured on the network in Ireland’s music.

In addition to his work as a solo and chamber pianist, Masters maintains an active career in the operatic world. As Music Director of Druid City Opera, he has conducted productions of Tosca, Rigoletto, Lucia di Lammermoor, Il barbiere di Siviglia, and Don Pasquale. A recent performance of the continuo recitatives for Il nozze di Figaro with Opera Roanoke was described by an Opera magazine critic as “brilliant.”

Masters has also appeared as a musical theatre conductor, leading performances in past years of Carousel, Fiorello!, Oh, Kay!, The 25th Annual Putnam County Spelling Bee, and Babes in Arms. In April 2019, Masters and his Virginia Tech colleague Amanda Nelson revived The Sap of Life, a show written by Tony Award-winning playwright Richard Maltby Jr. and Oscar Award-winning composer David Shire that was last performed in 1964.

Masters is the author of Encyclopedia of American Classical Pianists: 1800s to the Present (Rowman & Littlefield, 2023), which the piano historian Mark Ainley (The Piano Files with Mark Ainley) referred to as “unparalleled…invaluable.” He reviews recordings regularly for MusicWebInternational, the Association of Recorded Sound Collections Journal, Piano Magazine, and several other publications.

Masters holds degrees from the University of Colorado at Boulder (BM), the Juilliard School (MM), and the Eastman School of Music (DMA). His primary teachers included Joseph Werner, Robert Spillman, Brian Zeger, Margo Garrett, Jean Barr, and Douglas Humpherys.

He lives in Blacksburg with his husband, two children, and a pug named Coleslaw.

  • Piano Music
  • Opera History
  • Piano Pedagogy
  • Vocal Coaching Pedagogy
  • British Music

  • DMA in Accompanying and Chamber Music, Eastman School of Music (University of Rochester), 2010
  • MM in Collaborative Piano, The Juilliard School, 2007
  • BM in Piano, University of Colorado at Boulder, 2005

  • Audio Review Editor, College Music Society Symposium Journal
  • Editorial Review Board Member, American Music Teacher Journal

  • Excellence in Research and Creative Scholarship (College of Liberal Arts and Human Sciences, 2019-2020)
  • Certificate of Teaching Excellence (College of Liberal Arts and Human Sciences, 2019-2020)
  • Sharon Malone Award (Theatre Department, Virginia Tech, 2016)

Journal Articles

  • “The Doge Comes to America: A Reception History of Simon Boccanegra in the US” Opera Journal (accepted, expected June, 2020), 37-97.
  • “It Goes Like This: A Quick Introduction to Vocal Coaching for Pianists.” American Music Teacher (June/July, 2018), 14-17.
  • “Summer Intensive: A Case Study in Cross Departmental Collaboration” SDC Journal, with Amanda Nelson, co-author (May, 2018), 45-49.
  • “House Baritone: the life and career of Millo Picco.” The Record Collector (March, 2017), 53-62.
  • “‘Presiding at the Pianoforte’: A Brief History of Accompanying,” American Music Teacher (February/March, 2011), 16-21.

 

Book Chapters

  • For the Love of the Voice: Towards a New Generation of Coaches.” in Singing, the Timeless Muse, ed. Darlene Wiley (Gahanna, OH: Inside View Press, 2019), 159-16.

 

Other Creative Works

  • Molly on the Shore. Irish Reel. – Percy Grainger (transcribed by Lionel Tertis for viola, notated from a 1920 recording and edited by R. Masters) Bardic Edition, 2019

  • The Alkan Society
  • The American Matthay Association
  • College Music Society
  • Music Teachers National Association (Nationally Certified Teacher of Music)
  • North American British Music Studies Association

Who has most influenced you? Why? 

In my professional life, my undergraduate piano teacher Robert Spillman was my greatest influence. He is a polymath: solo pianist, vocal coach, opera conductor, chamber musician, composer, and writer.  He does it all, and he does it well. I learned so many things from Bob. The majority of my technical approach to the piano comes from him, as does my pedagogical outlook.

Bob always demanded the best I had to offer, and was never afraid to say “No, that’s not good enough.” He teaches via the Socratic method — if something isn’t working, he will try to lead you to the right solution using questions, forcing you to think for yourself. 

Almost as important, he makes students think of music’s intersection with society and culture, using imagery and historical references that many teachers would never think to employ.  If you study with him, you learn a lot more than just how to play the piano! 

I had excellent teachers before and after working with Bob, but he is unique in the awe-inspiring totality of his gifts. I use what he taught me every day in my own teaching, and I can safely say that I am a teacher today because of him.