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Guest Artists visit SFCM to share their expertise with student musicians.

Program

Presentation on period instruments
Thomas Carroll, clarinet

Wolfgang Amadeus Mozart: Clarinet Concerto in A Major, K. 622
     III. Rondo
Meli Everson, clarinet

Carl Maria von Weber: Clarinet Concerto No. 2 in E-flat Major, Op. 74
     II. Romanza: Andante con moto
Zoe King, clarinet

Artists

Thomas Carroll, clarinet

With a sound described as “beautifully warm” (Herald Times) and “sweet and agile” (New York Times), period clarinetist and instrument builder Thomas Carroll performs extensively throughout North America and Europe on historical instruments. He holds degrees from Oberlin Conservatory, Indiana University, and The Royal Conservatoire of The Hague, where his major teacher on early clarinets and chalumeaux was Eric Hoeprich.
Internationally, Thomas has performed as principal clarinet with period instrument orchestras in venues ranging from the Kozerthaus in Berlin to the Concertgebouw in Amsterdam. He has been featured as a soloist with American Bach Soloists, Mercury Chamber Orchestra, Lyra Baroque, Ensemble ad Libitum, Boston Baroque, and Grand Harmonie to critical acclaim. Thomas performs as principal clarinet with Philharmonia Baroque Orchestra and Chorale, Mercury Chamber Orchestra, Boston Baroque, Teatro Nuovo, and German-based L’Arte del Mondo, frequently collaborating with other early music specialists throughout North America including the Clarion Music and Handel and Haydn Societies, Sonoma Bach, and Musica Angelica. As an arranger of Harmoniemusik for period instruments, his transcriptions have been performed by Grand Harmonie, On Site Opera, and the Atlanta Opera. Eager to combine active scholarship with performance, Thomas is the co-founder with flutist Andrea Leblanc of Arpeggione, a chamber ensemble taking inspiration from the celebrated history of Boston’s Mendelssohn Quintette Club, performing transcriptions and arrangements of large-scale works as they were originally heard on the American stage in the second half of the 19th Century.
As an educator, Thomas is dedicated to training the next generation of historical clarinetists and cultivating an interest in performance practice and hands-on research. He has given guest lectures and masterclasses at universities throughout the United States and maintains a private studio of historical clarinet students. He is also a faculty member at the Festival de Música de Santa Catarina in Brazil.
An interest in instrument mechanics and acoustics has led Thomas to a secondary career as an instrument builder and extensive research into 18th and 19th century wood treatment and seasoning. He builds chalumeaux, baroque, and classical clarinets, and basset instruments for use in historically-informed performance ensembles in his Boston workshop, which are played throughout North America, Europe, Japan, and Australia.