{"id":64,"date":"2009-04-01T21:34:36","date_gmt":"2009-04-01T20:34:36","guid":{"rendered":"http:\/\/www.carlrosman.com\/?page_id=64"},"modified":"2024-09-13T11:52:38","modified_gmt":"2024-09-13T10:52:38","slug":"selected-press","status":"publish","type":"page","link":"https:\/\/www.carlrosman.com\/?page_id=64","title":{"rendered":"selected press"},"content":{"rendered":"\n

Is that really a clarinet?<\/em>
Stephanie Bunbury, The Age, 13 July 1994<\/p>\n\n\n\n

The real show- stopper of the first half, though, was undoubtedly Time and Motion Study I for bass clarinet, played with fervour and prodigious technical mastery by Carl Rosman. This was a real tour de force of neurotic and demoniacal energy, and I don\u2019t believe I have ever heard a better performance\u2026<\/em>
Stephen Ingham, The Age, 27 September 1994<\/p>\n\n\n\n

\u2026straordinario<\/em>
Dino Villatico, La Repubblica (Rome), 23 October 1994<\/p>\n\n\n\n

A ceaseless torrent of notes\u2026an outpouring of energy and wild, excessive stamina.<\/em>
Keith Field, Sun-Herald (Melbourne), 5th December 1995<\/p>\n\n\n\n

\u2026a brilliant performance of Chris Dench\u2019s hyper-complex, ultra-virtuosic funk (a virtual premiere, insofar as it was the first accurate performance)\u2026 the visual and body-language communication between the two players \u2013 percussionist Peter Neville and clarinettist Carl Rosman \u2013 was electric; afterwards, they were clearly elated: they rushed up to one another, embraced, beamed, thrust each other\u2019s hands up in the air \u2013 just like a relay team that had won a gold medal. And why not? The achievement was of a comparable order: there were few people in the world who could have done what they had just done.<\/em>
Richard Toop, Sydney Review, February 1996<\/p>\n\n\n\n

\u2026grace and tonal warmth<\/em>
Gordon Kerry, Sydney Morning Herald, 12 September 1997<\/p>\n\n\n\n

There is not just a clarinet \u2013 even in a solo work, a single note (as when Rosman played Formosa\u2019s Domino, in ELISION\u2019s second concert), there is an ensemble playing.<\/em>
Zsusanna Soboslay Moore, RealTime, December 1998\/January 1999<\/p>\n\n\n\n

The works dating from the 1970s represent [Ferneyhough] at his most demanding. The performance of the bass clarinet piece [Time and Motion Study I] may be singled out for its almost explosive vigour\u2026 splendid.<\/em>
Fabrice Fitch, Gramophone, February 1999<\/p>\n\n\n\n

\u2026characteristic style and colour.<\/em>
Gordon Kerry, Sydney Morning Herald, 15th March 1999<\/p>\n\n\n\n

From time to time one still comes across the idea that modernist music, by its very nature, is ugly and inexpressive, and that the newly tuneful composers of the last couple of decades have saved the art from going down some blind alley. If evidence were needed to conquer that notion, a recent CD of solo works by Brian Ferneyhough (Etcetera KTC 1206), played by the extraordinary musicians of the Australian group ELISION, would do the trick.
\u2026perhaps the most sheerly stunning performance here is Carl Rosman\u2019s of Time and Motion Study I for bass clarinet, an earlier piece, from the 1970s rather than the \u201980s, going back to a steamier period in Ferneyhough\u2019s music. Rosman suggests something of the sound and atmosphere of a jazz improvisation, and perhaps for Ferneyhough the bass clarinet was a more eloquent, precise and versatile alternative to the baritone saxophone. But those extras are vital. The piece covers the ground from frenetic burblings to intense tones in a register one never thought this instrument could reach, moving to a powerful climax, after which all that is left is dust in the air.<\/em>
Paul Griffiths, New York Times, 4 April 1999<\/p>\n\n\n\n

[Time and Motion Study I] for bass clarinet is a spluttering catherine-wheel of sound which flares out from a core oscillating figure, and this performance is a pyrotechnic display par excellence, the vital anchor holding fast amid the gestural upheaval around it.<\/em>
M. Mortimer, Avant (UK), Spring 1999<\/p>\n\n\n\n

\u2026demonstrated once again why he is one of Australia’s leading exponents of the tough 20th-century repertoire.
Scelsi’s Three Pieces for Eflat clarinet and Ferneyhough’s piece for bass clarinet, Time and Motion Study I, were the focal points, and Rosman negotiated the tricky phrases with great fluency. The careful articulation of these two works produced measured and thoughtful virtuosic displays.<\/em>
Joel Crotty, The Age, 24 March 2001<\/p>\n\n\n\n

\u2026Carl Rosman [interpretierte] als hoch virtuoser Spezialist f\u00fcr Neue Musik einige Solost\u00fccke f\u00fcr Klarinette. Chris Denchs \u201eruins within\u201c lockt den Zuh\u00f6rer in ein mit h\u00e4ufig \u00fcberblasenen, schrillen Phrasen gespicktes Labyrinth von T\u00f6nen, das sich auf einem Geflecht wie in Nebel gepackter Tonimpulse aufbaut. Aaron Cassidys \u201emetallic dust\u201c und Brian Ferneyhoughs \u201eTime and Motion Study I\u201c f\u00fcr Bassklarinette artikulieren sich rhythmisch h\u00f6chst explosiv in Ger\u00e4usch und Schrei, tobenden Trillern und schw\u00e4rzestem Growl, in wilden, dem Free Jazz \u00e4hnlichen L\u00e4ufen und pl\u00f6tzlich einbrechenden Stillezonen. Richard Barretts \u201einterference\u201c f\u00fcr Kontrabassklarinette bot zum Schluss ein spektakul\u00e4re Performance zwischen Stimme, Instrument und knalliger Basstrommel: Ein Text aus \u201eDe rerum natura\u201c von Lucrez wird bezogen auf das wissenschaftliche Ph\u00e4nomen des Vakuumverfalls in der Quantentheorie, die musikalische Darstellung wird zum akustischen Abbild diesen sprachlichen Prozesses. Die Zuh\u00f6rer im Guibal-Saal der Akademie waren stark beeindruckt.<\/em>
Dietholf Zerweck, E\u00dflinger Zeitung, 18 October 2002<\/p>\n\n\n\n

Namen wie Brian Ferneyhough, Aaron Cassidy oder Richard Barrett stehen f\u00fcr Kompositionen, deren m\u00f6glichst vielen Noten in m\u00f6glichst kurzer Zeit zu spielen sind.
Rosman tut es f\u00fcr den H\u00f6rer ebenso atemberaubend wie f\u00fcr sich selbst: Unter seinen H\u00e4nden, nein, seinem Ganzk\u00f6rpereinsatz, scheinen sich die Laute seines Instruments zu verselbstst\u00e4ndigen, als ob sie sich nur noch m\u00fchsam b\u00e4ndigen lie\u00dfen. Ein Klangdickicht bisweilen unerkl\u00e4rlicher Herkunft; Schnauben, R\u00f6cheln, St\u00f6hnen, Atemst\u00f6\u00dfe, die wie Geschosse durch multiphone Obertonakkorde jagen.<\/em>
\u201ckir\u201d, Stuttgarter Zeitung, 21 October 2002<\/p>\n\n\n\n

\u2026the executive difficulties of most of the music, taken in their stride by Pace and Rosman, would have beaten most famous performers on the ordinary concert circuit into insensibility\u2026 ended with a forthright and satisfying performance of the Brahms [Op. 120 No. 2] sonata, demonstrating that the best contemporary music specialists can bring new perspectives to music of the past, and may be well able to match their more famous rivals in masterpieces of the classical canon.<\/em>
Peter Grahame Woolf, Seen and Heard (www.musicweb.uk.net), October 2002<\/p>\n\n\n\n

\u2026australische Klarinettist Carl Rosman beeindruckte mit seiner sportiven Virtuosit\u00e4t die Zuh\u00f6rerschaft\u2026<\/em>
Achim Bornhoeft, Stuttgarter Nachrichten, 4 December 2002<\/p>\n\n\n\n

\u2026bravour\u00f6ser Klarinettist\u2026<\/em>
Rainer Nonnenmann, K\u00f6lner Stadt-Anzeiger, 30 August 2005<\/p>\n\n\n\n

Schneid bringt hier die Vertikale, also den Klang in einen zeitlichen Verlauf. Aberwitzig schnell gespielte Skalen und Arpeggien sind gedanklich den Soundclustern Coltranes verwandt. Schnelle, repetitive Spr\u00fcnge zwischen den Registern schaffen eine latente Zweistimmigkeit. Ein Virtuosenst\u00fcck voller klanglicher Intensit\u00e4t, inspiriert gespielt von Carl Rosman auf der neuen Wergo-CD.<\/em>
nmz, October 2005<\/p>\n\n\n\n

\u2026Vertical Horizon I (1997) pour clarinette solo r\u00e9v\u00e8le rapidement sa nature \u00e9minemment harmonique, pleinement restitu\u00e9e par Carl Rosman.<\/em>
Pierre Rigaudi\u00e8re, Diapason, February 2006<\/p>\n\n\n\n

Del [Helmut Lachenmann], el clarinetista del grupo, Carl Rosman, a modo de \u00fanico oficiante de un rito musical que lo expuso durante veinte minutos ante un p\u00fablico \u00e1vido de nuevas experiencias est\u00e9ticas, toc\u00f3 su Dal niente-Interi\u00e9ur III (1970), pieza de suma exigencia t\u00e9cnica en su ejecuci\u00f3n por el necesario empleo de medios ajenos a los convencionales usos del instrumento, impuestos por la tradici\u00f3n, lo cual obliga a apartar el inter\u00e9s y la atenci\u00f3n seg\u00fan los c\u00e1nones de la escucha habitual.<\/em>
\u2026Lachenmann opera sobre una \u00ab anatom\u00eda del sonido \u00bb, percibi\u00e9ndose tan s\u00f3lo los materiales, las energ\u00edas, y aun las resistencias, que ellos implican para producirlo. En este sentido, el impecable abordaje que de la obra hizo Carl Rosman enfatiz\u00f3 con su gestualidad y su dominio t\u00e9cnico tanto los incisivos sonidos agudos en inimaginables alturas o intensidades como las m\u00e1s imperceptibles pian\u00edsimos, y s\u00fabitos e inquietantes silencios, creando en el oyente un estado de alerta y permanente expectaci\u00f3n.<\/em>
H\u00e9ctor Coda, La Naci\u00f3n (Buenos Aires), 9 November 2006<\/p>\n\n\n\n


Barrett writes a kind of music in which small elements rapidly gain identities by means of repetition and transformation, so that they start to take on the character of words in some jabbering dialect. In the disc\u2019s most startling piece, interference, the breakthrough occurs before anything else has been heard. This solo for contrabass clarinet starts with the (man) soloist vocalizing in a very high register, a register normally (if that is quite the word: there is not much normality here) associated with keening or sacred ululation. The effect is electric. Something desperate is going on\u2014is being transmitted, indeed, or at least its transmission is being transmitted. So hot is this process that the words, from Lucretius, are burnt. And it says a lot for Barrett\u2019s skills\u2014as also for those of his destined performer, Carl Rosman\u2014that the temperature stays super-high when the instrument takes over.
There is another participant, in addition to the unfamiliar instrument and the defamiliarized voice. From time to time the player whacks a pedal drum, whether to belabour, encourage or merely punctuate the monologue one is not sure. The whole scene, rivetting throughout its twelve minutes, could be compared with one of Beckett\u2019s late \u2018dramaticules\u2019\u2014Ohio Impromptu especially.
A piece for more usual clarinet (though the unusual clarinet in C), knospend-gespaltener, comes across, despite its title from Celan (\u2018budding-fissured\u2019), as the comedy of this series. Again Rosman is the expert player. There are also pieces for metal percussion, trombone, violin and electric guitar, all played by the astonishing musicians of Elision, with whom the composer has had a long relationship.<\/em>
Paul Griffiths, Words and Music: record of the week (www.disgwylfa.com)<\/p>\n\n\n\n

Two knockout works were those in which Rosman exercised his vocal showmanship: Aaron Cassidy\u2019s I, purples, spat blood, laugh of beautiful lips (2006\/7), another premiere, and Richard Barrett\u2019s Interference (2000). Cassidy\u2019s piece, for unaccompanied high male voice, requires the performer to monitor a computer-generated random pitch line through an earphone and sing that line while pronouncing fragments of words derived from texts by Arthur Rimbaud and Christian B\u00f6k. Cassidy\u2019s work addresses their translation and, in the absence of conventional verbal meaning, Rosman\u2019s declamatory voice delivers a powerful emotional impact, extending the consideration of verbalisation and sound poetry since Kurt Schwitters and the Dadaists. The randomness of the pitch line ensures the work is never rendered the same way twice. Barrett\u2019s Interference (2000) is based on a text by Lucretius and is set for falsetto voice alternating with contrabass clarinet and accompanied by kick-drum, and Rosman\u2019s theatrical one-man-band effort is electrifying.<\/em>
Chris Reid, Realtime August\/September 2007<\/p>\n\n\n\n

\u2026Carl Rosman is a transcendently skilled clarinettist, and he also performs as a one-man-band.
\u2026Dench too has Rosman spinning a web of wondrously flexible sounds on clarinet\u2026
\u2026I was glad to listen through both discs, though no way can I recommend them to Christmas purchasers\u2026<\/em>
Peter Grahame Woolf, Musical Pointers<\/a><\/p>\n\n\n\n

A 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<\/em>
Tim Rutherford-Johnson, Musical Pointers<\/a><\/p>\n\n\n\n

Edgard Var\u00e8ses Komposition ‘Ionisation’ f\u00fcr Schlagzeugensemble (1929-31), beendete die erste H\u00e4lfte des Konzerts und geriet zugleich zu einem der vielen H\u00f6hepunkte. Die 13-k\u00f6pfige Musikerscharf n\u00e4herte sich diesem Schl\u00fcsselwerk der Moderne unter Leitung von Carl Rosman mit einer wunderbaren Transparenz, so dass die vielfach abgestuften Kl\u00e4nge stellenweise schon kammermusikalische Qualit\u00e4ten erreichten.<\/em>
Dr. Stefan Drees
http:\/\/magazin.klassik.com\/konzerte\/reviews.cfm?task=review&PID=2205<\/p>\n\n\n\n

Par le sens dramaturgique du compositeur, la haute densit\u00e9 du discours musical de La Chute d’Icare (1988) laisse n\u00e9anmoins prise \u00e0 l\u2019\u00e9coute ; les pics et les ruptures de r\u00e9gime ne manquent pas, sans parler de l\u2019\u00e9poustouflante cadence de la clarinette, o\u00f9 Carl Rosman semble repousser les limites techniques de l\u2019instrument.<\/em>
Pierre Rigaudi\u00e8re, Diapason, December 2010<\/p>\n","protected":false},"excerpt":{"rendered":"

Is that really a clarinet?Stephanie Bunbury, The Age, 13 July 1994 The real show- stopper of the first half, though, was undoubtedly Time and Motion Study I for bass clarinet, played with fervour and prodigious technical mastery by Carl Rosman. This was a real tour de force of neurotic and demoniacal energy, and I don\u2019t … <\/p>\n

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