Student comments

“She had great enthusiasm and talent.”

“I never thought I would actually listen to classical music just because.  It’s now on my iPod!”

“It was a very well-rounded class.”

“This class was a great experience!”

Colleague feedback

“She deftly adjusted her expectations to the abilities and level of sophistication of the students, and graciously offered every opportunity for students to ask questions and try out ideas.”

“She appears to be a natural teacher: attentive, patient, clear, and passionate about her subject.  It’s obvious that she has the full respect of her class.”


“Both Michael and Kimberly Davenport are virtuoso musicians any must be applauded for this awesome disc of music for bass clarinet and piano. The recording quality is near flawless. The clarity, especially of the piano, is brilliant.”  –Lawrence Gibbs, review of Chaconne, The Clarinet.

“Kimberly Davenport is highly adept as a pianist.”
–Diana Tolmie, review of Music for Bass Clarinet and Piano, Australian Clarinet & Saxophone Magazine.

“a CD of his piano works performed by Kimberly Davenport, including his powerful Piano Sonata no. 1.  She knew him personally, and nobly revived a number of his works in his memory (a kindred spirit if I ever saw one).  It’s excellent and still available if you’re curious.”–Peter Nelson-King, blog post, John Verrall: a Triumph for the Persistently Nice

“You play wonderfully, and it was great to hear such a large body of John’s work all at one time. I heartily applaud your mission to promote unpublished modern piano scores. Keep up the good work!”
–Keith Eisenbrey, composer and pianist.

“I also feel a need to single out Kim Davenport , a 22 year old who played superbly after only one year of harpsichord study, and with the requisite French double available to her for only one month before the performance. She’s definitely someone to watch.”
–Tom Phinney, review of Western Early Keyboard Association conference performance.

“Not sure if Tomas Svoboda got a chance to talk with you much after your recital here in Portland, but he called me afterwards and said sitting in the audience was “like hearing myself play the piece”.  He’s never, ever, said such a thing to me in the 28 years I’ve known him. I’m so disappointed I wasn’t able to be there to hear your performance of Tomas’ SUITE for Harpsichord, Op. 105.”
–Tom Stangland, composer Tomas Svoboda’s publisher.


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