Born in England, Carl Rosman studied clarinet in Australia, with Phillip Miechel in Melbourne and with Peter Jenkin in Sydney, graduating with a Master degree from the Sydney Conservatorium of Music. From July–December 2002 he was an artist in residence at Akademie Schloss Solitude (Stuttgart), returning there for further residencies during 2003 before he moved to Europe.
Carl has performed widely as a soloist, with appearances throughout Europe and Australia, as well as in the USA, Japan and South Korea. He has performed at the Huddersfield, Sydney Spring, Melbourne, Perth, Adelaide and Akiyoshidai Festivals, as well as at the 1997 ISCM World Music Days and the 1994 Darmstädter Ferienkurse, where he became the first Australian recipient of a Kranichsteiner Musikpreis. He is a member of the ELISION ensemble (www.elision.org.au) and co-artistic director with Mark Knoop of the libra ensemble (www.libraensemble.com). He has also appeared with Ensemble Modern (Frankfurt), Ensemble SurPlus (Freiburg), Reservoir (UK), the Melbourne Symphony, Ensemble Offspring, ChamberMade Opera, the Gavin Bryars Ensemble and many other groups.
Carl has also conducted libra ensemble, ELISION, Ensemble Varianti (Stuttgart), Sydney Alpha, and many other groups in works by a wide variety of composers from Berg (Kammerkonzert) and Boulez (“Le marteau sans maître”) to Cage (Concert for Piano and Orchestra) and Ferneyhough. He conducted ELISION at the Studio of the Sydney Opera House in 1999 in a programme including the Australian premiere of Brian Ferneyhough’s “La Chûte d’Icare”, and at the 2000 Adelaide Festival in performances of John Rodgers’ Inferno.
Carl has enjoyed direct working relationships with a wide range of Australian and international composers including Brian Ferneyhough (whose “Time and Motion Study I” he has performed on four continents and recorded for ELISION Ensemble release), Michael Finnissy, Chris Dench, Gavin Bryars, James Dillon, Liza Lim, Adam Yee, Richard Barrett and many others. Works composed for him include Chris Dench’s ruins within for solo clarinet in A, Liza Lim’s “INGUZ” (fertility) for clarinet in A and cello and Richard Barrett’s interference for contrabass clarinet. His articles on works by Liza Lim and Chris Dench have recently been published by Musik und Ästhetik, and he also writes regularly for International Record Review, Symphony Australia, Universal Music Australia and ABC Classics.
As of June 2017