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Thomas Carroll

Artist profile

International Soloist, chamber musician and early clarinet player




“The F. A. Uebel Superior II exceeded my expectations from the first note! Incredibly smooth and connected legato, resonant and versatile clarion and altissimo registers, and a deep chalumeau register that holds its shape even at extreme dynamic levels. The keywork is some of the most solid I’ve had on a German system instrument, and the quality of the wood, attention to detail, and craftsmanship is impeccable! I feel like this instrument is a great match for me and the aesthetic I’ve been seeking for years, and I can’t wait to see how we develop together.”


With a sound described as “beautifully warm” (Herald Times) and “sweet and agile” (New York Times), period clarinetist and instrument builder Thomas Carroll performs extensively throughout North America and Europe on historical instruments.
Internationally, he has performed as principal clarinet with period instrument orchestras in venues ranging from the Kozerthaus in Berlin to the Concertgebouw in Amsterdam. He has been featured as a soloist with American Bach Soloists, Mercury Chamber Orchestra, Lyra Baroque, Ensemble ad Libitum, Boston Baroque, and Grand Harmonie to critical acclaim. Thomas performs as principal clarinet with Philharmonia Baroque Orchestra and Chorale, Mercury Chamber Orchestra, Boston Baroque, Teatro Nuovo, and German-based L’Arte del Mondo, frequently collaborating with other early music specialists throughout North America including the Clarion Music and Handel and Haydn Societies, Sonoma Bach, and Musica Angelica. As an arranger of Harmoniemusik for period instruments, his transcriptions have been performed by Grand Harmonie, On Site Opera, and the Atlanta Opera. Eager to combine active scholarship with performance, Thomas is the co-founder with flutist Andrea Leblanc of Arpeggione, a chamber ensemble taking inspiration from the celebrated history of Boston’s Mendelssohn Quintette Club, performing transcriptions and arrangements of large-scale works as they were originally heard on the American stage in the second half of the 19th Century.
As an educator, Thomas is dedicated to training the next generation of historical clarinetists and cultivating an interest in performance practice and hands-on research. He has given guest lectures and masterclasses at universities throughout the United States and maintains a private studio of historical clarinet students. He is also a faculty member at the Festival de Música de Santa Catarina in Brazil.
An interest in instrument mechanics and acoustics has led Thomas to a secondary career as an instrument builder and extensive research into 18th and 19th century wood treatment and seasoning. He builds chalumeaux, baroque, and classical clarinets, and basset instruments for use in historically-informed performance ensembles in his Boston workshop, which are played throughout North and South America, Europe, Japan, and Australia.

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