{"id":2,"date":"2024-09-13T10:57:28","date_gmt":"2024-09-13T09:57:28","guid":{"rendered":"http:\/\/www.carlrosman.com\/?page_id=2"},"modified":"2026-08-03T20:13:50","modified_gmt":"2026-08-03T19:13:50","slug":"about","status":"publish","type":"page","link":"https:\/\/www.carlrosman.com\/","title":{"rendered":"about"},"content":{"rendered":"\n
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\u201cIs that really a clarinet?\u201d <\/strong>(Stephanie Bunbury, The Age, 13 July 1994)<\/p>\n<\/blockquote>\n\n\n\n

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\u201c\u2026not just a clarinet\u2014even in a solo work, a single note \u2026 there is an ensemble playing\u201d <\/strong>(Zsusanna Soboslay Moore, RealTime, December 1998\/January 1999)<\/p>\n<\/blockquote>\n<\/div>\n\n\n\n

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Carl Rosman \u00a9 Janet Sinica<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

Carl Rosman specialises in performance of the most demanding works of the recent solo clarinet repertoire, and in collaborative creation of new works drawing on and developing his distinctive repertoire of specialised instrumental techniques.<\/p>\n\n\n\n

Composers from around the world have found themselves drawn to his polyphony of technique, sound and idea, many composing solo works specifically for him, including Georges Aperghis (Damespiel), Richard Barrett (interference, the world long ago ceased to exist), Aaron Cassidy (The wreck of former boundaries, 27. Juni 2009), Chris Dench (ruins within), Milica Djordjevi\u0107 (treperenje), Michael Finnissy (K\u00f6lner Klarinette), Evan Johnson (\u2018indolentiae ars\u2019, a medium to be kept), Liza Lim (Microbiome), Bethan Morgan-Williams (G\u00eamdisyn), Rebecca Saunders (Caerulean), and many others, enlarging not only the clarinet\u2019s repertoire but its vocabulary.<\/p>\n\n\n\n

Other close collaborators have included Brian Ferneyhough, whose works for solo clarinet, especially Time and Motion Study I for solo bass clarinet and La Chute d\u2019Icare for solo clarinet and ensemble, he has performed widely, as well as Mauricio Kagel and Sir Harrison Birtwistle. He was awarded the Kranichsteiner Musikpreis at the 1994 Darmstadt Ferienkurse.<\/p>\n\n\n\n

His praxis as a soloist is informed by a particularly wide experience performing on historical instruments: in chalumeau repertoire by Telemann and Graupner; in new works exploiting the potential of such instruments as the Classical basset clarinet, the Baroque clarinet, and the basson de chalumeau; and in twentieth-century repertoire by Messiaen, Boulez, or Lachenmann, where his instrumental choices cast new light on well-known material, just as they re-establish fading knowledge of original performance practice. Recent appearances as soloist with orchestra include Chaya Czernowin\u2019s Fast Darkness II with the Estonian National Symphony Orchestra under Enno Poppe, and Turgut Er\u00e7etin\u2019s Das Phonem zwischen zwei W\u00f6rtern (b) with the SWR Symphonieorchester under Brad Lubman.<\/p>\n\n\n\n

As clarinettist, he has been a member of ELISION for over thirty years and Ensemble Musikfabrik for over twenty. He also performs as a vocalist (Pierrot lunaire at the 2018 Koper Biennale, Peter Maxwell Davies\u2019 Eight Songs for a Mad King, Kassandra\/Athena in Xenakis\u2019 Oreste\u00efa at the 2011 Wiener Festwochen, staged by La Fura dels Baus) and conductor (including with Ensemble Musikfabrik, ELISION and libra ensemble in works ranging from Berg and Var\u00e8se through Messiaen, Boulez and Kagel to Ferneyhough, Poppe and Lim, at festivals including the Adelaide Festival, BIFEM, HCMF and the Berliner Festspiele.)<\/p>\n\n\n\n

He has recorded widely both as a soloist and with ensemble. Recent releases include Alberto Posadas\u2019 Sombras cycle with Quatuor Diotima and Sarah Maria Sun on na\u00efve, the solo CD Caerulean on HCR, and the 2023 HCR release indolentiae ars devoted to solo works for voice and clarinet by Evan Johnson. Ensemble Musikfabrik\u2019s CD Sprechges\u00e4nge, including his performance of Georges Aperghis\u2019s clarinet concerto Babil, was awarded an ECHO Klassik prize in 2011.<\/p>\n\n\n\n

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\u201cA thwack and a howl and Barrett\u2019s CD begins with the startling Interference, written for clarinettist Carl Rosman. It\u2019s almost two minutes before a clarinet is heard, though, as a literally kicking and screaming Rosman thumps pedal bass drum and sings in a terrifying falsetto (and occasional basso profundo). This opening salvo is one of the most immediately arresting passages in recent composition, and the piece \u2013 and Rosman \u2013 miraculously maintains this intensity throughout\u2026\u201d<\/strong> Tim Rutherford-Johnson, Musical Pointers<\/p>\n<\/blockquote>\n\n\n\n

You might also like to have a look here<\/a>, or here<\/a>.<\/em><\/p>\n\n\n\n

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Carl Rosman<\/a><\/h1>\n\n\n
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Copyright \u00a9 2009-2024 Carl Rosman. All images are copyrighted by their respective authors.<\/p>\n<\/div>\n\n\n\n