In this section, you can watch and hear several of my live performances!

For more videos, visit my YouTube Channel!

Let’s start with my performance of Mario Davidovsky’s Synchronism No 12 for Clarinet and Electronic Sounds, composed in 2016. I recorded it at my Yellowbarn Residency during the summer of 2020, in the midst of the pandemic. It was an incredible privilege to be one of the rare musicians to be offered spaces to practice, rehearse, and record music that was dear to our hearts. My concerts were not surprisingly all canceled and I had much time to dive into this piece and make it feel like I was playing chamber music with the electronics.

Here’s now the staple piece for clarinetists, Mozart’s Clarinet Concerto in A Major, K622 (1791). Recorded live with the USC Thornton Symphony Orchestra and conducted by David Lockington during my studies at the University of Southern California. What a delight to perform this piece with my friends!

The following is the very tender 2nd movement, Adagio, from the Clarinet Trio, Op. 44, composed by Louise Farrenc in 1861. It was recorded live with Juliette Herlin (cello) and Zachary Deak (piano) in 2018 during my Artist Diploma studies at USC.

Like the Davidovsky Synchronism No 12, this next video was also the fruit of my residency at Yellowbarn during the summer of 2020. Being able to safely play chamber music whilst the pandemic was striking the entire world was an immense privilege. This is Liza Lim’s Inguz (1996), recorded with Coleman Itzkoff on the cello. “The title Inguz refers to a Viking rune symbolising fertility, which is associated with the moon, intuition and the desire for harmonisation in personal relationships.” (Liza Lim)

The gorgeous and jazzy Three Preludes (1926) by George Gershwin, arranged for clarinet and piano by James Cohn. With Sung Chang on the piano.

Another solo piece I recorded during my Yellowbarn residency in 2020 was In The Dark by Philippe Hersant. This is an unbelievably beautiful masterwork.

Katia Tchemberdji composed this following piece in 2003 and she dedicated it to her grandmother, Zara Levina, a composer, too, who was Jewish. The theme of the Holocaust was very present while Tchemberdji was growing up. The title of this solo piece, Ma’or, means “light” in Hebrew and refers to the light as the source of life, hope, and beauty. But also to one that brought terror and death– the flashlights of the Nazis, when looking for Jews.

In Freundschaft (“In friendship”) was composed by Karlheinz Stockhausen in 1977. The body movements, carefully described by the composer in the score, help to make the development of the musical ideas clearer.

Echo-Tanz (“Echo-dance”), the first out of the Three Shadow Dances, is all about fugitiveness and ephemerality. It was composed by Jörg Widmann in 2013.

Jörg Widmann says of his Fantasy (1993): “It is a little imaginary scene uniting the dialogues of different people in close proximity in the spirit of the commedia dell'arte." The piece is filled with sudden trips into dance, klezmer, and jazz music.

The next two videos are movements from Abbie Betinis’ Nattsanger (“Night songs”), composed in 2008. You can find the entire performance of this stunning piece on my YouTube Channel.

The following video dates from my time living in Amsterdam, Netherlands. Bart Fermie, here playing the pandeiro, introduced me to choriños, which are traditional urban folk songs from Brazil and which I fell in love with ever since. This is Doce de Côco, by Jacob do Bandolim. On the guitar is Daniel De Moraes and on the double bass Guillaume Ortet.

As part of our first Up Close as Ensemble Connect Fellows during the height of the pandemic in 2020, pianist Joanne Kang and I recorded the 2nd movement, Romanza, from the Sonata for Clarinet and Piano by Francis Poulenc, which he composed in 1962. We programmed this piece as it beautifully expressed the sense of loneliness and sadness we all felt during this time of forced separation.