Check out the Recitals page for live streams, recordings, and information!
Vinny LaMonica (b. 1993, he/him/his pronouns) is a (contra)bassoonist, conductor, composer, and educator based in Eugene, Oregon. Currently pursuing a Doctor of Musical Arts degree in bassoon performance, Vinny performed with the Oregon Symphony, Portland Opera, Rogue Valley Symphony, and Eugene Symphony Orchestras during his first year in town, and was a part of the orchestra for Hunter Noack's 2026 recording of Rachmaninoff's second piano concerto for the performance series IN A LANDSCAPE.
For five years, Vinny has taught the Boston University Tanglewood Institute (BUTI)'s Bassoon Workshop alongside his former teacher, Margaret Phillips. In 2026, Vinny presented a faculty recital with pianist extraordinaire Esther García Moreno called She's Got Rhythm, highlighting music by women and non-binary composers that are achievable, challenging, motivating, and enjoyable for high school bassoonists gearing up for college auditions. (See more on the Recitals page.)
In the six years between the end of his Master's Degree and to moving to Oregon, Vinny performed constantly across New England, including with the Symphony Orchestras of Bangor (Maine), Portland (Maine), Hartford (Conn.), Springfield (Mass.), Albany (New York), the Cape (Cape Cod, Mass.), Symphony New Hampshire, the New England Repertory Orchestra, and the Rhode Island Philharmonic. Alongside his performing, Vinny also taught music education at The Hartt School (Hartford, Conn.), preschool through eighth grade general, choral, and instrumental music and technology at Union School (Conn.), bassoon at Choate Rosemary Hall (Wallingford, Conn.) and the Community Music School of Springfield (Mass.), and directed two community bands, the East Woodstock Cornet Band and the historic Babcock Cornet Band in his hometown of Ashford, Connecticut. Vinny also owned and ran the Quiet Corner Music Studio, a hub for lessons, classes, performances, and recording sessions where students ranged from 3 to 83 years old and covered all wind and brass instruments, organ & piano, ukulele, voice, and general music.
I use my positions as a performer, conductor, and teacher to advocate for the inclusion of incredible music by gender- and racially-marginalized composers through commissions, scholarship, high-quality performances, and relentless optimism.
My teaching philosophy comes down to these straightforward intentions:
Teaching skills are effectively cultivated by framing each task, lesson, or concept as literacy and/or musculature.
Technical mastery & musicality are the sum of no-risk and low-risk skills and are achievable by everyone.
Kids don't like things they aren't good at, so if we want kids to love music, then it's best to build the most effective strategies for literacy and musculature in fun ways that stick for all students.
Why is that my mission? Even when a woman cultivates detailed, excellent, cohesive programs of music by women composers and performs them without fault, the uneducated critic can get away with claiming that she only programmed that music because she is a woman. They can't say that to me, a cisgender white dude, creating the chance for me to program worthy composers of all backgrounds.
The world is full of incredible music - let's find more of it.