Carl Rosman was born in England and studied clarinet in Australia, with Phillip Miechel in Melbourne and with Peter Jenkin in Sydney. He graduated with a Masters degree from the Sydney Conservatorium of Music in 2001. He was awarded a Kranichsteiner Musikpreis at the 1994 Darmstadt Ferienkurse and is clarinettist of Ensemble Musikfabrik and the ELISION ensemble. He appeared as singer with Wiener Taschenoper in the 2010 Wiener Festwochen, performing Kassandra/Athena in La Fura dels Baus’s production of Xenakis’s Oresteïa , and in 2014 performed Sir Peter Maxwell Davies’s Eight Songs for a Mad King in Basel, in the presence of the composer.
Carl Rosman has also conducted ensembles including Libra, ELISION, Ensemble Musikfabrik and Sydney Alpha in works by composers from Berg, Varèse and Boulez to Cage, Messiaen and Ferneyhough. He conducted ELISION in major projects at the 2000 Adelaide Festival (John Rodgers: Inferno ) and the 2009 Huddersfield Festival (Richard Barrett: Opening of the Mouth ), as well as in CD recordings of works by Chris Dench, Liza Lim and Aldo Clementi. During 2010 he was director of Studio Musikfabrik. In 2014 he conducted and tutored musicians of the Australian National Academy of Music in a programme including Messiaen’s Et exspecto resurrectionem mortuorum and Ferneyhough’s Carceri d’Invenzione III.
Carl has enjoyed direct working relationships with a wide range of composers. Works composed for him include Evan Johnson’s indolentiae ars: a medium to be kept for historical basset clarinet in A, Chris Dench’s ruins within for solo clarinet in A, Liza Lim’s INGUZ (fertility) for clarinet in A and cello, Rebecca Saunders’ Caerulean for solo bass clarinet, Georges Aperghis’ Damespiel for solo bass clarinet, and Richard Barrett’s interference (for contrabass clarinettist also vocalising over a five-octave range) and Flechtwerk (for clarinet and piano, with Mark Knoop).