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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10/15/2005
Back to Work
I apologize for the long hiatus in writing.
I've been back to work since September 13. It's been a good few weeks. Our orchestra is starting to heal from years of neglect and un-discipline. We sound like a different orchestra than we did six months ago. With a few really good conductors, we've picked up fresh new habits of detail and balance which contribute to more complex expression from the group. We've also finally begun to move beyond the stale, entrenched power divisions which prevented the full and necessary co-operation toward great music making. There can be no dissenters in the wave of concentration required to mold a cohesive instrument out of 75 independent voices.
Our Music Director search concluded with the choice of Junichi Hirokami, whose incredible musical gifts and charisma won unanimous support from the orchestra and the board of trustees, no small miracle in the music world, where every nuanced decision can have numerous vociferous, conflicting opinions. However, the time for real celebration has not yet arrived, as the negotiations with his agent remain to be settled. Please wish us your best.
Maestro Hirokami, or Junichi, conducted us the first day back from summer. So we hit the ground rolling. The program included Mozart abduction from the Seraglio and Dvorak 8th. His subtle and charismatic style had not faded since his first appearance with us last May, when he led us in Rach. Sym. 2. He coaxed detailed and earnest music from us, without any pressure, inspiring us from within, the sign of a gifted teacher.
His detractors had little to go on. Their complaints of his lack of English and programming skills barely dented the validity of the magic he created on the podium. After all, we were hiring a conductor and musician foremost, not a public speaker.
However, after 3 years of serving on the search committee, I understood the overall importance of communication and hobnobbing skills for an American conductor. I promised those doubters the musicians would pitch in to support Junichi and our management to smooth over any bumps in his public image. This is no small task. As a performer, I am expert in performing clarinet, not political or public mingling. But these days, a musician must do what is necessary to perpetuate our slowly atrophying profession. We are simply becoming too expensive a hobby for most cities. So hobnobbing I go, in order to continue to perform great music. And now, with the possibility of being led by a true Master sculptor of orchestral music, I'm willing to do whatever it takes.
David H. Thomas
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