How does Richard Stoltzman blend classical technique with jazz improvisation? Richard Stoltzman uses a fully classical embouchure, breath support, and finger precision, then overlays jazz concepts like flexible time, swing articulation, and melodic improvisation. He keeps his core tone, but loosens articulation, widens vibrato, and shapes phrases more like a singer or saxophonist to move freely between classical and jazz.
Who is Richard Stoltzman? – Life, Birthdate, and Early Training
Richard Stoltzman is an American clarinetist born on March 10, 1942, in Omaha, Nebraska. He is widely recognized for redefining the clarinet as a solo instrument in both classical and jazz contexts. His career shows how a player with deep conservatory training can also become a convincing improviser and crossover artist without sacrificing classical standards.
Stoltzman grew up in a musical household, hearing big band, church music, and classical records. He studied clarinet seriously from a young age, eventually working with prominent teachers connected to institutions like the Eastman School of Music and Yale University. This rigorous background gave him the technical base that later supported his jazz and crossover work.
During his student years, Stoltzman absorbed the standard classical clarinet canon: Mozart, Weber, Brahms, Debussy, and later Copland. At the same time, he listened intensely to jazz musicians such as Benny Goodman, Artie Shaw, and modern players like Miles Davis and John Coltrane. This dual listening habit shaped his concept of sound, phrasing, and musical freedom.
His early professional life focused primarily on classical chamber music and orchestral appearances. Yet he maintained a strong interest in improvisation and non-classical collaborations. Over time, he became one of the first clarinetists to build a major international career that treated classical, jazz, and contemporary music as equally central rather than separate side projects.
1942 – Birth year of Richard Stoltzman; over 60 commercial recordings released; 2 Grammy Awards for Best Chamber Music Performance.
Timeline & Awards: Key Dates (1982 Avery Fisher Prize; 1983, 1986 Grammy mentions) and Milestones
Richard Stoltzman's career includes several landmark dates that show his impact on classical and jazz clarinet. Understanding this timeline helps clarify how he moved from traditional training into a broader crossover role while earning top classical honors along the way.
On March 10, 1942, Stoltzman was born in Omaha. After advanced studies and early professional work, he began to gain attention in the 1970s for his chamber music and concerto appearances. By the late 1970s, he was already performing with major ensembles such as the Marlboro Music Festival groups and the Tashi Quartet.
In 1982, Stoltzman received the Avery Fisher Prize, one of the most prestigious awards for American classical instrumentalists. This prize recognized him primarily as a classical clarinet soloist but also validated his broader artistic vision. He was the first clarinetist to receive the Avery Fisher Prize, which significantly raised the profile of the instrument.
In 1983, Stoltzman won a Grammy Award for Best Chamber Music Performance for his recording of Brahms works with the Tashi Quartet. This Grammy highlighted his mastery of Romantic repertoire and his ability to shape long, singing lines that later influenced his jazz ballad style.
In 1986, he received another Grammy Award for Best Chamber Music Performance, this time for his recording of Beethoven and Brahms clarinet trios with Yo-Yo Ma and Emanuel Ax. These collaborations with major classical figures reinforced his status as a top-tier classical artist even as he pursued jazz and crossover projects.
1982 – Avery Fisher Prize; 1983 & 1986 – Grammy Awards for Best Chamber Music Performance; over 100 international orchestras featured Stoltzman as soloist.
Through the 1990s and 2000s, Stoltzman continued to record widely, including jazz-oriented albums on labels like RCA and BMG. He toured internationally, gave masterclasses at conservatories, and premiered works by contemporary composers. His timeline shows a consistent pattern: classical recognition first, then a gradual but firm expansion into jazz and crossover without losing artistic credibility in either field.
Major Collaborations and Signature Works (Philip Glass, John Adams, Chick Corea, Eddie Daniels, Tokyo String Quartet, Dawn Upshaw)
Richard Stoltzman's collaborations illustrate how he treats the clarinet as a flexible voice that can sit comfortably in classical, contemporary, and jazz settings. Working with composers such as Philip Glass and John Adams, and jazz artists like Chick Corea and Eddie Daniels, he built a repertoire that crosses stylistic borders while still sounding idiomatic.
With Philip Glass, Stoltzman participated in projects that highlight repetitive structures and long-breathed lines. Glass's writing often demands rock-solid control of tone and rhythm. Stoltzman's ability to sustain a pure sound over extended patterns makes these collaborations particularly striking, and they influenced younger clarinetists interested in minimalism and crossover.
John Adams, another major American composer, wrote clarinet parts that often mix classical technique with rhythmic vitality drawn from jazz and popular music. Stoltzman's work with Adams showed how a clarinetist can handle complex meters, syncopation, and bright articulation while maintaining a lyrical core. This balance is central to Stoltzman's jazz-influenced classical playing.
In the jazz world, Stoltzman's collaborations with Chick Corea stand out. Corea's harmonic language and rhythmic playfulness encouraged Stoltzman to improvise more freely while keeping his characteristic tone. Recordings and live performances with Corea reveal Stoltzman taking extended solos, shaping lines like a saxophonist but with clarinet clarity.
His work with Eddie Daniels is especially important for clarinetists. Both artists are classically trained and deeply involved in jazz. Joint performances and recordings show two different but complementary approaches to jazz clarinet: Daniels often leans into virtuosic bebop lines, while Stoltzman emphasizes lyricism, color, and vocal-style phrasing.
The Tokyo String Quartet and soprano Dawn Upshaw represent Stoltzman's deep roots in classical chamber music. With the Tokyo String Quartet, he recorded works such as the Brahms Clarinet Quintet, demonstrating the same singing tone that later colors his jazz ballads. Collaborations with Dawn Upshaw highlight his sensitivity to text and vocal phrasing, which directly informs his approach to jazz standards.
Over 30 major collaborative albums; collaborations include at least 4 Pulitzer Prize-winning composers and multiple Grammy-winning artists.
Stoltzman's Repertoire: From Copland's Clarinet Concerto to Jazz Standards
Richard Stoltzman's repertoire spans Copland, Brahms, and Mozart on one side, and jazz standards and contemporary crossover works on the other. This range shows clarinetists how to build a career that respects the classical canon while embracing improvisation and popular styles.
Copland's Clarinet Concerto is central to Stoltzman's identity. Written for Benny Goodman, the concerto already blends classical structure with jazz-inspired rhythms and melodies. Stoltzman's interpretations emphasize the long, floating lines in the first movement and the rhythmic bite and glissandi in the second. His recordings of the work are often cited as reference versions for their warmth and flexibility.
He has also recorded and performed the Mozart Clarinet Concerto, Brahms Clarinet Sonatas, and the Brahms Clarinet Quintet with top ensembles like the Tokyo String Quartet. These works demand a singing legato, refined dynamic control, and a deep understanding of harmonic direction. Stoltzman's approach to these pieces directly feeds into his jazz ballad style, where he treats standards with the same seriousness as Brahms.
On the jazz side, Stoltzman has recorded standards from the Great American Songbook, including tunes associated with George Gershwin, Duke Ellington, and Richard Rodgers. His versions often feature rubato introductions, subtle swing, and expressive vibrato. He tends to favor melodic paraphrase and motivic development rather than dense bebop lines, which makes his jazz playing accessible to classically trained clarinetists.
Stoltzman also champions contemporary crossover works that mix classical forms with jazz harmony and rhythm. Composers influenced by both traditions have written pieces specifically for him, often involving improvisation over written structures. These works expand the clarinet repertoire and give advanced players models for their own crossover projects.
For students and teachers, studying Stoltzman's repertoire choices provides a roadmap: master the core classical works, then add Copland and other jazz-tinged concertos, and finally incorporate jazz standards and new crossover compositions. This layered approach mirrors Stoltzman's own artistic development.
Core Playing Techniques: Tone, Breath Control, Embouchure, Fingerwork, Glissandi and Phrasing
Richard Stoltzman's sound and phrasing come from a classical foundation adapted for flexibility. Clarinetists who want to emulate his style must focus on tone production, breath control, embouchure stability, clean fingerwork, and controlled glissandi, then apply these tools to both classical and jazz contexts.
His tone is dark, centered, and vocal. He uses a relaxed but firm embouchure, with the lower lip cushioned over the teeth and the upper teeth resting on the mouthpiece. The corners of the mouth stay stable, while the chin remains flat. This setup allows for a wide dynamic range and subtle color changes without losing core focus.
Breath control is central to Stoltzman's long, singing lines. He relies on deep, low inhalation that expands the ribs and abdomen, then uses steady support from the diaphragm and lower back muscles. Practicing long tones across the full range, with crescendos and diminuendos, helps develop the kind of air control heard in his Brahms and Copland recordings.
Fingerwork in Stoltzman's playing is clean and relaxed. He keeps fingers close to the keys, minimizing motion to support rapid passages in both classical and jazz settings. Practicing scales, arpeggios, and patterns in varied rhythms and articulations builds the agility needed for his fluid runs and ornaments.
Glissandi are a signature element, especially in Copland and jazz standards. Stoltzman uses a combination of finger sliding and embouchure flexibility. For upward glissandi, he gradually relaxes the embouchure while lifting fingers in a smooth, coordinated motion. Practicing slow chromatic slides between notes, then expanding the interval, helps develop this effect without squeaks.
Phrasing in his playing often imitates a singer or saxophonist. He shapes lines with clear direction, using subtle rubato, varied vibrato speed, and dynamic shading. In jazz settings, he lightens articulation to create swing, often using a gentle tongue-stroke combined with air accents. Listening closely to his recordings and singing along with his solos can help internalize his phrasing style.
Improvisation & Crossover Strategies: Practice Exercises and a Starter Routine
Stoltzman's improvisation grows out of his classical technique and his ear for melody. Clarinetists who want to follow his path should build a practice routine that combines tone and technique work with simple, song-based improvisation. The goal is to keep a classical sound while learning to think like a jazz musician.
Start with melodic paraphrase. Choose a standard such as “Body and Soul” or “Summertime” and learn the melody by ear from a recording. Play it with your best classical tone, then gradually vary rhythms, add passing tones, and change note lengths. This mirrors Stoltzman's approach, where the tune remains clear but becomes more personal.
Next, work on chord-tone awareness. Over a simple ii-V-I progression in C major (Dm7-G7-Cmaj7), practice arpeggios in quarter notes, then eighth notes. Focus on smooth finger motion and consistent tone. Once comfortable, connect arpeggios with scale fragments, aiming for clear voice leading between chords.
Rhythmic flexibility is another Stoltzman hallmark. Practice playing a simple scale in swing eighth notes with a metronome on beats 2 and 4. Then experiment with starting phrases on different parts of the bar, using rests and syncopation. This builds the rhythmic freedom needed for convincing jazz phrasing.
Here is a simple starter routine inspired by Stoltzman-style crossover work:
10 minutes of long tones with dynamic shaping across registers
10 minutes of scales and arpeggios in varied articulations and rhythms
15 minutes of melodic paraphrase on one standard, focusing on tone and phrasing
10 minutes of ii-V-I chord-tone and scale practice in 2 keys per day
10 minutes of free improvisation over a backing track or drone
Keep a journal of ideas that feel natural and musical. Stoltzman's improvisations often sound composed because he refines his vocabulary over time. Recording your practice and revisiting favorite phrases will help you build a personal, coherent style within a Stoltzman-inspired framework.
Instrument Setup & Maintenance for Crossover Playing (mouthpiece, reeds, adjustments, care)
Stoltzman's crossover sound depends not only on technique but also on a carefully chosen setup. For players moving between classical and jazz, small adjustments in mouthpiece, reed, and barrel can make glissandi easier and tone more flexible while preserving core focus and intonation.
Mouthpiece tip opening and facing length strongly affect response. A moderately open classical mouthpiece with a medium-long facing often works well for Stoltzman-style playing. It provides enough resistance for a rich tone but allows flexibility for pitch bends and vibrato. Extremely closed mouthpieces can make jazz inflection harder, while very open jazz pieces may compromise classical control.
Reed strength and cut are equally important. Many crossover players choose a slightly softer reed than their strict classical setup, for example moving from 3.5 to 3. This allows easier articulation, subtler dynamic changes, and smoother glissandi. A French-filed cut often gives quicker response and a bit more brilliance, which can help the sound project in jazz contexts.
Barrel length and bore characteristics influence intonation and color. A standard-length barrel with a slightly more open bore can add warmth and flexibility. Some players keep two barrels: one optimized for orchestral tuning and another that favors a freer, more resonant sound for jazz and crossover work. Testing with a tuner and recording device helps identify the best combination.
The ligature should hold the reed securely without choking vibration. Many clarinetists prefer a ligature that allows the reed to vibrate freely, supporting a singing tone and easy articulation. Experiment with placement: moving the ligature slightly closer to the tip or heel can subtly change response, which matters when you need both precise classical attacks and relaxed jazz articulation.
Regular maintenance is important for reliable crossover performance. Swab the instrument after every session, apply cork grease sparingly when joints feel dry, and inspect pads monthly for leaks that can sabotage soft dynamics and glissandi. Rotate reeds daily and store them in a ventilated case to maintain consistency across classical and jazz sets.
Martin Freres Field Note: In the Martin Freres archives, we see how 20th-century clarinetists experimenting with jazz and classical crossover often customized barrels and mouthpieces to balance warmth and projection. While Stoltzman is not directly tied to Martin Freres instruments, his approach reflects this broader historical trend of tailoring setups for maximum expressive range.
Teaching Legacy, Masterclasses, and Educational Impact
Richard Stoltzman's influence extends far beyond his recordings. Through masterclasses, residencies, and teaching collaborations, he has shaped how clarinetists and educators think about crossover playing, tone concept, and musical risk. His message consistently encourages students to honor classical craft while embracing personal expression.
In masterclasses, Stoltzman often focuses first on sound and phrase shape rather than technical details. He asks students to sing lines, then play them, highlighting the connection between voice and clarinet. This approach helps players internalize music as song, which is important for both Brahms and jazz ballads.
He also addresses stage presence and communication. Stoltzman encourages performers to move, breathe, and react physically to the music, rather than standing rigidly. This attitude reflects his own performance style, which is expressive and sometimes informal, helping audiences feel closer to the music.
For teachers, Stoltzman's career provides a model for curriculum design. Many conservatories now include jazz or improvisation options for classical clarinet majors, inspired in part by artists like Stoltzman and Eddie Daniels. His success shows that serious classical study and jazz exploration can coexist in a single training path.
Students who study his recordings and writings often report a shift in how they think about repertoire. Instead of seeing Mozart and jazz standards as separate worlds, they begin to look for shared elements: melody, rhythm, and emotional narrative. This mindset change is one of Stoltzman's most important educational legacies.
Recording Highlights, Recommended Listening, and Notable Performances
Listening carefully to Richard Stoltzman is important for anyone who wants to understand his clarinet jazz crossover style. His discography covers core classical works, contemporary pieces, and jazz-oriented albums. A curated listening list can guide your study and provide concrete models for tone, phrasing, and improvisation.
For classical tone and legato, start with his recordings of the Brahms Clarinet Sonatas and the Brahms Clarinet Quintet with the Tokyo String Quartet. These performances show his trademark warmth, flexible vibrato, and long-breathed phrasing. Pay attention to how he connects registers and shapes climaxes without losing control.
Copland's Clarinet Concerto is important listening for crossover technique. Stoltzman's interpretations highlight the contrast between the lyrical first movement and the jazz-influenced second movement. Listen for his glissandi, rhythmic inflection, and the way he balances classical clarity with jazz-inflected freedom.
On the jazz side, explore albums where Stoltzman collaborates with Chick Corea or interprets standards. These recordings reveal how he maintains his classical sound while loosening articulation and time feel. Focus on his melodic development: he often starts close to the tune, then gradually expands into more adventurous territory.
Notable live performances, including appearances at major festivals and with leading orchestras, show his ability to adapt to different acoustics and ensembles. When possible, watch video recordings to study his body language, breathing, and interaction with other musicians. These visual cues can inform your own stage presence and ensemble playing.
As you listen, keep a notebook. Write down specific time stamps where a phrase, glissando, or improvisation catches your ear. Then try to imitate those moments on your instrument. This active listening process is one of the fastest ways to absorb Stoltzman's style into your own playing.
Troubleshooting Common Technical Issues When Emulating Stoltzman's Style
Trying to emulate Richard Stoltzman's clarinet jazz crossover style can reveal technical weaknesses. Common issues include squeaks during glissandi, uneven response between registers, reed chatter at soft dynamics, and stiff jazz articulation. A systematic troubleshooting approach helps you solve these problems efficiently.
If you squeak during glissandi, first check the reed. A reed that is too hard or warped will resist smooth embouchure adjustments. Try a slightly softer, well-balanced reed. Next, slow the glissando down and coordinate finger motion with a gradual embouchure relaxation. Practice small intervals before attempting wide slides like those in Copland.
Uneven response across registers often comes from leaks or embouchure instability. Test your instrument with a leak light or have a technician check pad seating. Then practice long tones on throat tones, clarion, and altissimo, focusing on consistent air support and embouchure firmness. Aim for the same color and stability in each register.
Reed chatter or fuzziness at soft dynamics can sabotage lyrical passages and jazz ballads. Rotate through several reeds and discard those that feel unstable. Adjust the ligature slightly forward or backward to find the most secure vibration. Long-tone practice at pianissimo, with a tuner, helps refine the balance between air speed and embouchure pressure.
Stiff or unconvincing jazz articulation is another frequent issue. If your swing feels rigid, lighten the tongue stroke and think of a “da” or “doo” syllable rather than a hard “ta.” Practice simple scale patterns in swing rhythm at slow tempos, focusing on a relaxed jaw and steady air. Listening to Stoltzman and singing along can help internalize the feel.
Before performances, run a quick diagnostic routine: test reeds, play long tones in all registers, check key screws for looseness, and play a few glissandi and soft attacks. This pre-concert check mirrors professional habits and reduces the chance of technical surprises when you step on stage.
Key Takeaways
Richard Stoltzman built a career that treats classical and jazz as complementary, using a classical tone foundation with jazz phrasing and improvisation.
His core techniques include deep breath support, stable embouchure, clean fingerwork, and controlled glissandi, all adapted for flexible, vocal phrasing.
A crossover practice routine should combine long tones, scales, melodic paraphrase, chord-tone work, and free improvisation over simple progressions.
Thoughtful setup choices in mouthpiece, reeds, and barrel help balance classical warmth with the flexibility needed for jazz inflection.
Systematic troubleshooting of reeds, embouchure, and instrument regulation is important when aiming for Stoltzman-style legato, glissandi, and jazz articulation.
FAQ
What is Richard Stoltzman clarinet jazz?
Richard Stoltzman clarinet jazz refers to his crossover style that blends classical clarinet tone and technique with jazz phrasing, swing, and improvisation. He keeps a warm, centered sound and classical control, then adds flexible time, expressive vibrato, and melodic improvisation over standards, contemporary works, and pieces like Copland's Clarinet Concerto.
What are Richard Stoltzman's most important recordings and collaborations?
Key recordings include Brahms Clarinet Sonatas and Quintet, Copland's Clarinet Concerto, and jazz-oriented albums featuring standards and collaborations. Important partners include composers Philip Glass and John Adams, jazz pianist Chick Corea, clarinetist Eddie Daniels, the Tokyo String Quartet, and soprano Dawn Upshaw, each highlighting different facets of his crossover artistry.
How does Stoltzman produce his signature tone and phrasing?
Stoltzman uses a relaxed but firm classical embouchure, deep breath support, and a focused, dark sound. He shapes phrases like a singer, with subtle vibrato, dynamic shading, and rubato. In jazz contexts, he lightens articulation and uses swing feel, but he never abandons the core classical tone that defines his sound.
What practice exercises help develop Stoltzman-style improvisation?
Helpful exercises include melodic paraphrase of standards, chord-tone arpeggios over ii-V-I progressions, scales in swing rhythm, and long tones with dynamic shaping. A daily routine might combine 10 minutes of long tones, 10 of scales and arpeggios, 15 of paraphrasing one tune, 10 of chord-tone work in 2 keys, and 10 of free improvisation.
How should I set up and maintain my clarinet for crossover performance?
Use a moderately open classical mouthpiece with a slightly softer reed than your strict classical setup to allow flexible articulation and glissandi. Choose a barrel and ligature that support a warm, resonant tone. Swab after every session, rotate reeds, inspect pads regularly, and run pre-concert checks for leaks, loose screws, and reed stability.
