Performer Blogs@Sequenza21.com

David H. Thomas has been an orchestral clarinetist for 25 years. Additionally, he is also an experienced soloist, with numerous critically acclaimed performances.

Starting his performing career directly after undergraduate studies, he won a position with the Greensboro Symphony in 1982. The next year he was offered the principal position of the Kennedy Center Opera House Orchestra in Washington, DC. The grueling demands of opera and ballet repertoire honed his skills as a versatile player. In 1989, he won the principal clarinet position of the Columbus Symphony in Ohio.

A noted orchestra among several giants in Ohio, the Columbus Symphony had its Carnegie Hall debut in 2001. The review was glowing.

For the past 16 years David has impressed audiences with his music making, both as orchestral and solo performer. Columbus Dispatch chief critic Barbara Zuck offered these comments in a 1994 review of Thomas' rendition of Rossini's Introduction, Theme and Variations:

"Thomas, ...has steadily grown in stature and confidence. Even so, I'm not sure anyone was prepared for the absolutely bravura display of virtuosity Thomas delivered last night. Who would have expected him to emerge as the clarinet equivalent of Cecilia Bartoli? I don't recall a bigger or better reception for any artist, anywhere."

From an April 30, 2005 review of the CSO in a concert of opera overtures and tenor arias, Zuck noted: "(Thomas) had as many great lines as the singer, and his brilliant performances once again reminded us how his playing has spoiled us over the years."


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7/15/2005
Floating through Summer

I'm in the thick of the summer pops now. Without the rigor of classical performances, my playing has sagged a bit. I've continued my private teaching schedule, since most of my students have more practice time without all the usual schoolwork. During my teaching, I often review basic technique, which I'm always working on myself.

Today, after teaching a lesson where I dissected voicing for my student, I carried those refreshed principals into the evening rehearsal, which normally would be a complete wash for me. I approached the instrument anew, as if I were giving myself the lesson in voicing. It buoyed me through the otherwise tedious reading. I realized that I tighten my jaw when playing in the orchestra. It creeps up on me, from hours and hours of reading difficult music, from adjusting continuously to other players. It's easy to fix, but easy to forget about in the drama of a complex reading.

Now I have a goal for the rest of my summer practice: to refresh my ideal playing stance during each session, to root the ideal deeper in my playing, and to renew that ideal daily after each "tense" rehearsal or performance.