
About Me
Brenden Bachaud (They/Them) began playing the violin at age nine in the public school system's instrumental music program. Over successive years, Bachaud attempted to become more involved and to take private lessons but was not allowed to, or to practice at home due to growing up in a dysfunctional and abusive family. Instead, Bachaud learned from observing other students, asking questions, and then listening to classical music after winning an iPod through a school competition at age 13. Taking the initiative to self-study through observation, reading, and listening, Bachaud relied heavily on the growing public school music program for their early training.
In 2011, Bachaud began performing professionally with the Richland Light Opera Company Orchestra. Since then, they have performed with the Mid-Columbia Symphony, the Washington-Idaho Symphony, the Yakima Symphony Orchestra (including being invited to perform on a tour of Northern China), the Cœur d’Alene Symphony, the Walla Walla Summer Musical Series, Collegium Musicum in Memphis TN, the Greeley Chamber Orchestra, the Orqueerstra (an LGBTQIA+ exclusive ensemble in Northern Colorado), The Beethoven Camerata, the Denver Philharmonic Orchestra as Principal Second, as a soloist for fundraisers for the American Heart Association and to support Breast Cancer Research, as a featured artist at Col Solare winery (2013 - 2014) and in accompanying ensembles for Mannheim Steamroller (2019) and Black Violin (2015), as well as freelancing for many projects across the United States. Bachaud has appeared in masterclasses with Sarah Whitney (2017) and the Aulos Ensemble (2019). In September 2025, Bachaud will join the Sinfonia Spirituosa in Sacramento and Davis California for the first time.
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Falling in love with baroque music through recordings at an early age, Bachaud engaged in scholarship of historically informed performance practice at Eastern Washington University with Dr. Jane Ellsworth, and studied baroque violin performance with Timothy Shiu at the University of Memphis, performing in the Collegium Musicum and in a masterclass for the Aulos Ensemble (2019). Bachaud is currently continuing the study of baroque violin performance with Dr. Jubal Fulks at the University of Northern Colorado, and will debut with the Sinfonia Spirituosa in California in September 2025.
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Bachaud has also spent considerable time performing chamber music, studying with Dr. Jody Graves at Eastern Washington University. Bachaud was a founding member of the Colores Trio, which received the Kendall Feeney Award for Work in Contemporary Classical Music in 2018.
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As a composer, Bachaud composed cadenzas for multiple works as concertmaster of the Columbia Basin College Orchestra, where they also performed concertos by Antonio Vivaldi. In 2017, Bachaud premiered their own composition, titled Chloroplast, based on research by Dr. Jonathan Middleton, at the National Conference of Undergraduate Research with their colleague and fellow violinist Grace Fishel, a piece which was composed by converting amino acid sequences into sound. Later that year, Bachaud and Fishel were awarded the String Area Award for Creative Endeavors by the faculty at Eastern Washington University in recognition of the project.
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In addition to performing, Bachaud has been teaching violin students across the spectrums of age, economic status, and ability/disability since 2011. Their students have been concertmasters and principal chairs for school and youth orchestras, have won auditions with local and semi-professional orchestras, and have won scholarships as music majors at multiple universities. In 2013, Bachaud began volunteering with public school music programs, working with Sarah Berglund (named Washington State Middle School Teacher of the Year, 2021), Jason Rose, and Lora Roosendaal. They joined the Mid-Columbia Symphony's Educational Outreach Committee in 2015, helping to establish a youth orchestra, and later leading sectionals for the ensemble. Bachaud continued their advocacy for music education in 2016, working with Eastern Washington University's public school outreach program. Bachaud continues to volunteer in public schools and to advocate for music education for all students. Although not a Suzuki teacher, Bachaud studied Suzuki pedagogy with Kathleen Spring at the Walla Walla Suzuki Institute in 2015, and with Janet Armour at the University of Memphis between 2018 and 2019. Bachaud recently joined the board of Northern Colorado Regional Ensembles as its financial director, a non-profit organization which supports young and upcoming queer musicians and community members who love music.
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Bachaud studied with Grammy Award winning violinist Dr. Julia Salerno on scholarship at Eastern Washington University, graduating summa cum laude and receiving the Dean’s Award of Excellence in 2018, with Timothy Shiu on a Graduate Assistantship at the University of Memphis, studying both classical and baroque violin performance as well as pedagogy, and is currently studying classical and baroque violin performance with Dr. Jubal Fulks at the University of Northern Colorado as a Graduate Teaching Assistant, also receiving the Russel D. Fielder Memorial Scholarship, the Eulalia Health Scholarship in Music, and the Graduate Dean's Scholarship Program award to fund their schooling.




My Pedagogical Family Tree
One of the coolest parts of studying the violin (in my opinion) is that we are all connected through our teachers. When I was young, I would listen to music for hours and hours, having no idea what the words on the album covers meant. Were they names or titles? Composers or performers? When I first started studying with Julia Salerno at the age of 20, the first repertoire I began studying was one of Ysaÿe's sonatas, something I had listened to hundreds of times. I had spent so long imagining what it would feel like to play it that I was in a state of shock for months, not quite grasping that I was actually doing this thing that I had dreamed about for so long! When I went to study with my next teacher, Timothy Shiu, I realized that, through my teachers, I am also a descendant of Ysaÿe's teaching. Perhaps that is why so many of us tend to play such similar repertoire while we are developing our technique and musicianship. It is the repertoire of our ancestors, of those who came before us and found this thing that we have all fallen in love with, those who then chose to share it with others in the form of teaching. To share this thing that I love more than anything else in the world is the reason I teach.
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Below is a condensed version of my pedagogical family tree. To add all of the more than 200 names makes it extremely convoluted, with countless lines crisscrossing and color-coding becoming all but useless. Every name should be present and remembered, and I endeavor to publish a truly thorough examination of this personal-history in the future.
