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Historical clarinet soloist and instrument builder Thomas Carroll discusses the effect of 21st century standardization on the modern Historically Informed Performance movement as well as the problems and concessions makers of replica period instruments must make to cope with the demands of modern expectations. Using examples from the Sigal Museum as well as other notable collections around the globe, this presentation will touch on aspects of instrument design pre and post-Industrial Revolution, wood seasoning and treatment, and methods of finishing, all of which ultimately have a measurable effect on the playability of the finished copy.
About Thomas Carroll - 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.
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.
