Although I began learning the clarinet quite young, it was only in my final years at school that I began to discover a love of performing. I subsequently won the Highgate Young Musician of the Year competition in 2017 and performed the Stanford Clarinet Concerto with Ealing Youth Orchestra in the same year.
Whilst studying at Cambridge, I held an Instrumental Award and was selected to be on the CAMRAM scheme, through which I had clarinet lessons at the Royal Academy of Music with Angela Malsbury and Tim Lines. At the Royal College of Music, I performed with the RCM Symphony Orchestra and RCM Opera, and I was featured in the RCM 'In Focus' and 'Chamber Essentials' concert series. I hold a keen interest in the early clarinet, which I studied with Colin Lawson, alongside my modern clarinet studies with Tim Lines and Peter Sparks.
As a performer, I try to create themed recitals, championing lesser-known music and trying to create coherent concert programmes built around specific ideas. My two main recitals at the RCM were built around academic concepts that I wanted to explore: 'Can Functional Music be Beautiful?', and 'What is Romantic Music?'. Over the last few years, I have also premiered over ten different pieces by my peers, including a new clarinet concerto by Nacho Mañá Mesas and Robin Haigh's 'Lago' for clarinet and string orchestra.
Performing Rachmaninov's Symphony No 3 as principal clarinet with the Royal College of Music Symphony Orchestra. This Symphony is full of wonderful writing for clarinet, especially in the Adagio: towards the end of the movement, the entire orchestra falls away, leaving just the solo clarinet, before the strings quietly rejoin to restate the Symphony's motto theme.
Performing Stravinsky's 'The Soldier's Tale' for the RCM's 'In Focus' series of films. This work is notoriously difficult to get together as an ensemble. However, the most difficult section for the clarinettist, 'The Devil's Dance', is also the most enjoyable to play; the clarinet soars over the top of the ensemble, finally coming out from the violin's shadow.
My transcription of the Allegro leggiero from Felix Mendelssohn's Lieder ohne Worte, Op. 67. This arrangement is not hugely faithful, with some more 'Brahmsian' voicings than in the original. However, making the piano writing more densely resonant, I have sought to enhance the change in sound that comes from the addition of the clarinet to Mendelssohn's original for solo piano.
My transcription of the Andante molto from Clara Schumann's Three Romances, Op. 22. To remodel this from a work for violin and piano, I transposed the middle section down an octave in the clarinet part and revoiced the piano part to accommodate. This creates a more 'Brahmsian' texture again (especially in bars 46-48), but I think it works, embracing the richness of the clarinet's timbre.