Hermann Hudde is a recitalist, having given performances at such distinguished venues as the Leonard Bernstein Festival of the Creative Arts, Graphik Museum “Pablo Picasso”, St. Elizabeth-Kirche and Lateinamerikanischen Musiktage in Germany, Maryland University, the Venezuelan Arts Gallery of New York, La Universidad Central de Venezuela, Fundación John Boulton, Casa de Estudios Latinoamericanos “Rómulo Gallegos", and Biblioteca Nacional de Venezuela in Caracas, Wasserstaawerk Concertgebow in Holland, Sala Teatina in Florence, University of Chicago Fulton Recital Hall, El Instituto de Cultura y Educación de México en Chicago, Isabella Stewart Gardner Museum, The Keller Room in New England Conservatory, MIT Guest Artist Concert Series, King's Chapel, The Loring-Greenough House, and St. Paul Cathedral, Bentley University in Boston, Dartmouth College Vaughan Recital Series, La Maison de l'Amérique Latine in Paris, and L’Université de Franche-Comtè in Besancon, France. As a chamber musician, he has worked with the singer Claudia Hernández and the flutist Gary Woolf in Europe, and with the pianist David Hessney and singers Sarah Cossaboon and Jessica Bachicha in the US. Hermann's concerted engagement with creative performance practices is reflected in his community performance outreach and work in non-traditional venues including public schools, senior centers, and public libraries. As a four times recipient of the prestigious Gluck Fellow Program of the Arts at the University of California, Riverside (2017-21), he continued to bring interactive live music programs to dozens of public schools in Southern California. Previously, in Boston, Hermann received a Performance Outreach Fellowship from the New England Conservatory of Music (2006-07). As a recording artist, Centaur Records released his newest cd "Iberoamérica" (2009) with liner notes by Lecturer Olmanda Hernandez-Guerrero from Simmons College. The German label Dreyer & Gaido produced Hermann’s first cd entitled “Trivium” (2003) with liner notes by the English composer John Duarte. This album has been highly acclaimed in Europe by Akoustic Gitarre, Fonoforum and Gitarren Hamburg. Composer Miguel del Aguila wrote the guitar work Sambeando (2021) for Hermann. Together with the North/South Consonance Chamber Orchestra conducted by Max Lifchitz in New York City, he premiered Suite Continental (2019) by composer Alex Rodriguez, a work dedicated to him. In addition, the Estonian composer Renée Eespere dedicated his solo guitar work Immutatio (2003) to Hermann, a piece which was featured in Soundboard Magazine. As a pedagogue, Hermann taught as Visiting Lecturer at Scripps College, UC Riverside, and the New England Conservatoy of Music School of Continuing Education (2010-16). He similarly concluded a music-in-education internship at the Music Education Department of the Boston Symphony Orchestra (2008) and was appointed as Artist-Teacher in the Boston Symphony Orchestra new community program (2008-10). Additionally, Hudde worked on an orchestra management internship for Handel & Haydn Society in Boston (2008). Hermann also was a participant in an Invitational Seminar at New England Conservatory, "Venezuela’s Message of Social Transformation Through Music: A Model for Education, Social Reform and Human Development in the U.S.?" (2007). As a musicologist, Hermann's articles and reviews have been published in refereed journals such as the Journal of the Society for American Music, Current Musicology, Tempo, Nineteenth-Century Music Review, Revista Musical Chilena, Soundboard, Revista de Musicología, The World of Music, Resonancias, Latin American Music Review, Músicaenclave, Diagonal: An Ibero-American Music Review and Harvard Review of Latin America, and also wrote the forthcoming chapter, “Bernstein and Latin America,” in the Bernstein in Context volume (Cambridge University Press). Hermann has presented his research at the American Musicological Society, UC Irvine, UC Merced, Tufts, San Francisco Conservatory of Music, McGill, Harvard, Universidad Católica Andrés Bello, and Wheaton College, among other universities. Hermann's contemporary musicological research projects have benefited from various grants, fellowships, and awards, including a Second Prize (2016) and an Honorable Mention (2014) in the Otto Mayer-Serra Award for Ibero-American Music Research. His research “Voices of the Americas: Conversations with Latin American Composers in the United States” (2016) was awarded a grant from the Latin GRAMMY Cultural Foundation. Hermann similarly received the Jane’s Travel Grant to research from the Latin American and Latino Studies at Brandeis University (2012) and his project: Pan Americanism in Action: Latin American Music and Composers at Tanglewood from 1941 to 1965 was granted with the “Outstanding Research and Proposal Project." Hermann Hudde earned a PhD in Musicology from the University of California, Riverside (2021) with his dissertation "Negotiating Politics and Aesthetics: The Untold History of Latin America Modern Art Music in the Berkshire Music Center at Tanglewood (1940-1951).” He also holds a Master of Music Degree with a Music-in-Education concentration (2008) at New England Conservatory in Boston, under the tutelage of Robert Sullivan and a Master of Arts in Musicology from Brandeis University thanks to the support of scholarships. Hermann also earned a bachelor's degree in music at the Hochschule für Musik Detmold Abteilung Münster, Germany (2003) and a bachelor's degree in international studies at the Universidad Central de Venezuela (1998). Hermann received a scholarship from The Mozarteum University in Salzburg to attend the Summer Academy (2004), where he met and became a student of Edoardo Catemario at the Accademia Musicale di Firenze, Italy (2005-06). Hermann began his guitar studies in Venezuela with Rubén Riera and studied music theory with the composer Alvaro Cordero.

As an enthusiastic and competent teacher, I am seeking online students with whom I can continue to develop my passion for teaching music. There is no greater satisfaction for me than contributing to and nurture people's skills and talents. Teaching guitar, for me, implies fostering a broad range of abilities. Therefore, I believe it is critical to understand the different learning styles and strengths that students bring to the online studio in order to create the most appropriate individual learning environment. My teaching approach encourages students to perform, improvise, analyze, and reflect on a piece of music, a composer, or a music style. 

We will work together on features such as: Fingering Dynamics Phrasing Studying techniques Score marking Styles Repertoire Etudes (Sor, Carcassi, Brouwer,Villa-Lobos, etc...) Sight-reading Right hand and left-hand positions Tone production  Warm-up exercises