A few words of excuse:
The idea was originally to have the standard musician’s website thing: a blurb, a repertoire list, some press, some pictures, some sounds. But I never found/made the time to get the material together. In the meantime, one of the (many) things that started to annoy me about the music business was precisely the importance attached to the list of achievements and ticked boxes. Since I’m currently in a job where this sort of thing is not so important, I hope eventually to put something else here. But for the time being, just in the interests of having some words up while I get my act together, here’s a reasonably current blurb. More will come soon. I hope it will say a little more about me than this does.
Carl Rosman was born in England and studied clarinet in Australia, with Phillip Miechel in Melbourne and with Peter Jenkin in Sydney. He graduated with a Masters degree from the Sydney Conservatorium of Music in 2001. He performs as a soloist across a wide range of repertoire from the Romantic period to the present day, specialising in the most demanding works of the contemporary solo repertoire.
Carl’s first performances in Europe took place at the 1994 Darmstädter Ferienkurse, where he was awarded a Kranichsteiner Musikpreis. He was an artist in residence at the 1995 Akiyoshidai Festival, and has since performed as a soloist throughout Europe and Australia as well as in the USA, Japan and South Korea. During 1996 he was a musician in residence at the University of Queensland. From July–December 2002 he was an artist in residence at Akademie Schloss Solitude (Stuttgart), where he regularly returns for performances. During 2007-08 he also lectured in music at Brunel University (London).
Carl now lives in Köln as a permanent member of musikFabrik. He is co-artistic director (with Mark Knoop) of Libra, and also a member of ELISION. He has also appeared with groups including ensemble ascolta (Stuttgart), Ensemble Phoenix (Basel), Ensemble Modern/Ensemble Modern Orchestra (including CD recordings of works by Hugues Dufourt, Jörg Widmann and Harrison Birtwistle), Ensemble SurPlus (Freiburg), Ensemble Mosaik (Berlin), Reservoir (UK), Theater Freiburg, and the Gavin Bryars Ensemble. Recent solo performances include Mathias Spahlinger’s akt, eine treppe herabsteigend with Mike Svoboda and the Rundfunk Sinfonieorchester Berlin under Johannes Kalitzke.
He has also conducted ensembles including Libra, ELISION, musikFabrik, ensemble ascolta, and Sydney Alpha in works by composers from Berg (Kammerkonzert), Varèse (Ionisation) and Boulez (le marteau sans maître) to Cage (Concert for Piano and Orchestra) and Ferneyhough. He conducted ELISION at the Studio of the Sydney Opera House in 1999, at the 2000 Adelaide Festival, and at the 2006 Huddersfield Festival, as well as in recordings of works by Chris Dench (ik(s)land[s], released on NMC in June 2005), Liza Lim and Aldo Clementi (released on Mode in 2007). He conducted ELISION in the UK premiere of Richard Barrett’s Opening of the Mouth at the 2009 Huddersfield Festival.
Carl has enjoyed direct working relationships with a wide range of composers. He has recorded Brian Ferneyhough’s Time and Motion Study I for ETCETERA, Michael Finnissy’s solo clarinet works for METIER, and two solo works by Richard Barrett for NMC. Recent releases include Georges Aperghis’s Babil with musikFabrik (on WERGO), Brian Ferneyhough’s La Chute d’Icare with ELISION (on Kairos) and solo works by Aaron Cassidy (on NEOS). Works composed for him include Chris Dench’s ruins within for solo clarinet in A, Liza Lim’s INGUZ (fertility) for clarinet in A and cello, Richard Barrett’s interference (for contrabass clarinettist also vocalising over a five-octave range) and Flechtwerk (for clarinet and piano, with Mark Knoop), and Georges Aperghis’s Damespiel for solo bass clarinet. His articles on works by Liza Lim and Chris Dench have been published by Musik und Ästhetik, and he writes regularly for International Record Review.
not just a clarinet – even in a solo work, a single note… there is an ensemble playing.
Zsusanna Soboslay Moore, RealTime, December 1998/January 1999
Rosman tut es für den Hörer ebenso atemberaubend wie für sich selbst: Unter seinen Händen, nein, seinem Ganzkörpereinsatz, scheinen sich die Laute seines Instruments zu verselbstständigen, als ob sie sich nur noch mühsam bändigen ließen.
“kir”, Stuttgarter Zeitung, 21 October 2002