Who is Sharon Kam? Sharon Kam (born 1971) is a world-renowned clarinet soloist and chamber musician known for her warm tone, refined phrasing and competition successes, including First Prize and Audience Prize at the 1999 Carl Nielsen International Competition. Her major performances include Mozart with the Berlin Philharmonic (2005), Copland with the London Philharmonic (2010), and Brahms at Carnegie Hall (2015).
Early Life, Education and Historical Context
Sharon Kam is widely cited as being born in 1971, but sources differ on her birthplace, listing either the United States or a town in North Rhine-Westphalia, Germany. This discrepancy highlights how artist biographies can drift over time. For serious research, students should cross-check official artist biographies, competition archives and conservatory records.
Kam grew up in a musical family and began clarinet at a young age, reportedly around age 8 or 9. Early immersion in chamber music and orchestral repertoire shaped her flexible phrasing. By her teens she was already performing concertos and winning youth competitions, which built the foundation for her later international career.
Her formal training is closely associated with the Juilliard School in New York City. Studying at Juilliard placed her in a rigorous environment of orchestral projects, chamber ensembles and solo coaching. For advanced students, this context matters: her style reflects both European tonal ideals and American conservatory discipline.
Historically, Kam emerged in the 1990s, a period when the clarinet world was redefining Mozart, Brahms and contemporary concertos through historically informed phrasing and cleaner articulation. Her early recordings and competition appearances show a clear, vocal line with tight rhythmic control, matching the broader shift toward transparency in classical performance.
By the late 1990s she was already collaborating with major European orchestras and chamber groups. This timing placed her alongside peers like Sabine Meyer and Martin Fröst, helping to shape a generation of clarinetists who combined traditional German sound concepts with international repertoire and recording opportunities.
Major Awards and Competition History
Sharon Kam's competition record is one of the key reasons advanced students study her career. The most frequently cited milestone is the 1999 Carl Nielsen International Clarinet Competition, where she reportedly won both First Prize and the Audience Prize. This double success illustrates her blend of technical control and communicative stage presence.
The Carl Nielsen Competition in Odense, Denmark, is known for its demanding repertoire list, which usually includes Nielsen's Clarinet Concerto, a major classical concerto and contemporary works. Preparing for such an event requires stamina, stylistic versatility and mental resilience, qualities that are evident in Kam's later performances and recordings.
Earlier in her career, Kam also collected prizes at youth and regional competitions in Europe and North America, though dates and locations are less consistently documented. When sources conflict, students should consult original competition programs, jury reports and press archives rather than relying only on short web biographies.
Beyond formal competitions, Kam's invitations to perform with top orchestras function as a kind of artistic endorsement. Appearances with the Berlin Philharmonic, London Philharmonic Orchestra and at Carnegie Hall signal that she met the highest professional standards, often more telling than a long list of smaller prizes.
For teachers coaching competition candidates, Kam's trajectory is instructive: strong early training, targeted competition entries, then a shift toward building a recording and concert career. This arc helps students understand that competitions are a means to artistic growth and visibility, not an end in themselves.
Notable Performances and Discography (by year and venue)
Clarinetists often look to Sharon Kam's performance history to benchmark their own artistic goals. While not every date is documented publicly, several key performances and recordings anchor her timeline and provide clear listening and study points for advanced students.
2005: Mozart Clarinet Concerto with the Berlin Philharmonic
In 2005, Kam performed Mozart's Clarinet Concerto with the Berlin Philharmonic, one of the most prestigious orchestras in the world. This performance is frequently cited for its warm tone, classical clarity and elegant cadential shaping, making it a reference point for students preparing the same concerto for auditions or competitions.
Her approach emphasizes long, singing lines and a flexible but controlled vibrato, particularly in the Adagio. Listening closely to her dynamic shading and breath placement can help players solve common issues like chopped phrases and rushed cadences in Mozart.
2010: Copland Clarinet Concerto with the London Philharmonic
By 2010, Kam had expanded her concerto repertoire to include Copland's Clarinet Concerto, performed with the London Philharmonic Orchestra. This work demands both lyrical control in the first movement and jazzy articulation in the second, showcasing her stylistic range.
Students should pay attention to her pacing of the cadenza and her rhythmic precision in the jazz-influenced sections. The performance illustrates how to maintain classical tone quality while still capturing Copland's swing and freedom, a balance that often challenges competition candidates.
2015: Brahms Clarinet Quintet at Carnegie Hall
In 2015, Kam appeared at Carnegie Hall in New York City in a performance of Brahms's Clarinet Quintet. This chamber work requires deep ensemble listening and a rich, blended sound, and her interpretation highlights her ability to shape long phrases within a tight chamber texture.
For chamber music auditions, this performance offers a model of how to lead and follow within a group, how to balance with string players and how to sustain emotional intensity over an extended multi-movement work.
Selected Discography and Listening Priorities
Kam's discography includes concertos by Mozart, Weber, Copland and contemporary composers, along with chamber recordings. While exact release years vary by label and edition, her Mozart and Copland recordings are often recommended starting points for students.
When building a study playlist, prioritize her Mozart Concerto, a Copland Concerto recording, and at least one Brahms chamber disc. Listen with a score, mark breath points, dynamics and articulations, and compare them with your own choices. This transforms passive listening into active technical study.
Teaching, Masterclasses and Influence on Competitions
Although Sharon Kam is primarily known as a performer, she has also given masterclasses and workshops that influence how teachers and students think about clarinet competitions. Her sessions often focus on musical storytelling, technical clarity and mental preparation rather than raw speed or volume.
In masterclass settings, Kam reportedly emphasizes phrase direction and harmonic awareness. She encourages students to sing lines away from the clarinet, then transfer that vocal shape to the instrument. This approach aligns with her own lyrical style and is directly applicable to competition repertoire from Mozart to Nielsen.
Her influence on competitions is partly indirect: jurors and teachers often reference her recordings as examples of balanced, musicianly playing. When a panel expects “Kam-level” phrasing, they usually mean clear structure, tasteful rubato and a centered tone across all registers.
For conservatory applicants, studying artists like Kam helps clarify what top schools expect. Clean rhythm, refined intonation and a personal but stylistically informed interpretation are all traits associated with her performances and are common audition criteria at institutions such as Juilliard, Curtis and the Royal College of Music.
Teachers can use her career as a case study in long-term development: early competitions, then high-profile collaborations, then selective teaching and mentoring. This model can help advanced students plan their own mix of performance, teaching and recording goals.
Core Technical Approaches: Phrasing, Breathing and Stage Presence
Listeners often describe Sharon Kam's playing as vocal, fluid and composed under pressure. While she has not published a formal method book, her performances and masterclass comments suggest several core technical priorities that advanced students can adapt in their own practice.
Phrasing: Singing Line and Harmonic Awareness
Kam's phrasing often mirrors a singer's approach. She shapes lines according to harmonic tension and release, not just bar lines. To emulate this, analyze the harmony under your part, mark goal notes in each phrase and practice crescendoing into dissonances, then relaxing into resolutions.
She also favors clear phrase “architecture”: small gestures build into larger arches across an entire movement. When practicing, play a passage at half tempo and exaggerate dynamic contours. Record yourself and check whether a listener could draw the phrase shape just from your sound.
Breathing: Low Support and Long Arcs
Kam's long, unbroken lines suggest efficient breath use and strong core support. Think of breathing low into the ribs and back, not high into the shoulders. Practice slow inhalations on a 4-count, then sustain a soft note for 16 or more counts, keeping tone and pitch stable.
Link this to phrasing by planning breaths at musically logical points, such as ends of sequences or rests, instead of every bar. Mark your breaths in the score, then test whether you can remove one or two by improving air efficiency, closer to the kind of long arcs heard in Kam's Mozart and Brahms.
Stage Presence: Calm Focus and Narrative
On stage, Kam projects calm focus rather than theatrical gestures. Her presence centers on clear communication of the musical narrative. To develop similar poise, rehearse walking on stage, taking a quiet breath and beginning without rush. Video yourself and check posture, facial tension and unnecessary movements.
Before a performance, summarize the story of each piece in one or two sentences. For example, “This Nielsen movement moves from doubt to confidence.” Keeping that narrative in mind helps align body language, phrasing and dynamics, creating the integrated impression that juries associate with top-level artists.
Practice & Competition Preparation: A Practical Checklist
Inspired by Sharon Kam's competition successes and polished performances, advanced students can use a structured checklist to prepare for high-level auditions and contests. The goal is to connect daily practice habits with the kind of consistency heard in her recordings.
Daily Technique and Repertoire Structure
Divide your practice into three blocks: fundamentals, repertoire and performance simulation. Spend at least 30 minutes on tone, long tones, scales and articulation patterns. Aim for evenness of sound across the full range, similar to Kam's centered tone from low chalumeau to altissimo.
Next, work on competition pieces in small sections, focusing on rhythm, intonation and phrase direction. Use a metronome and tuner, then gradually remove them as your internal pulse and pitch stabilize. Finish with run-throughs of entire movements at or near performance tempo.
Mental and Physical Preparation
High-level competitions test mental stamina as much as technique. Build a pre-performance routine that includes slow breathing, visualization of the hall and a short warm-up that you can replicate anywhere. Consistency reduces anxiety and helps you enter the stage with the calm focus associated with artists like Kam.
Schedule mock auditions with teachers and peers. Simulate walking in, tuning briefly and playing your full program without stopping. Record these sessions and review them for pacing, body language and recovery from small mistakes. Treat each mock as seriously as the actual event.
Competition Week Checklist
- Confirm repertoire, cuts and editions match competition rules.
- Prepare at least two reeds you trust for each day.
- Plan sleep, meals and travel to avoid last-minute stress.
- Review scores away from the instrument to reinforce memory.
- Listen to reference recordings, including Kam, for inspiration, not imitation.
By competition week, avoid heavy technical changes. Focus on clarity, musical intention and reliable breathing. The aim is to present your most stable playing, similar to the consistency that underpins Kam's live and recorded performances.
Instrument Connection and Maintenance Steps
Professional-level performance, like that of Sharon Kam, depends on a deep relationship with the instrument and meticulous maintenance. While specific brands vary, the principles of setup, care and listening to your clarinet's needs are universal for serious players.
Clarinet Anatomy Choices that Shape Tone
Mouthpiece and reed choices have the largest impact on tone and response. A more open mouthpiece with a medium-soft reed can offer flexibility, while a closer facing with a stronger reed may provide stability. Track your preferred reed strengths and cut types in a practice journal.
Barrel length affects tuning and resistance. Many professionals keep two or three barrels, differing by 1-2 mm, to adapt to hall temperature and orchestra pitch. Note which barrel works best at A=440 vs A=442, and how each affects your ability to phrase and sustain long lines.
The bore and bell shape influence projection and color. While these are usually fixed by the maker, you can experiment with different bells or resonance rings under guidance from a teacher or technician to fine-tune response in large halls.
Daily and Weekly Maintenance Routine
Daily care supports the reliability needed for high-pressure performances. After each session, swab the instrument thoroughly, including the upper joint where moisture accumulates. Rotate reeds, resting each at least 24 hours between uses to extend life and stability.
Apply cork grease sparingly to tenon corks when assembling or if joints feel tight. Check pads visually for moisture or discoloration, especially under low E/B and throat keys. A quick wipe of the keys with a soft cloth helps prevent corrosion from skin oils and sweat.
Schedule professional servicing at least once a year, or more often if you perform heavily. A technician can check for leaks, adjust spring tensions and replace worn pads before they cause onstage problems.
Troubleshooting Common Performance Issues
Even with careful preparation, advanced players encounter problems such as inconsistent tone, breath support lapses and stage nerves. Studying artists like Sharon Kam can guide your troubleshooting: start with simple checks, then move to deeper technical adjustments.
Inconsistent Tone or Response
If your sound feels unreliable, begin with the reed. Check for chips, warping or waterlogged fibers. Try a fresh reed of the same strength and compare. Next, clean the mouthpiece table and rails with a soft cloth to remove residue that can affect vibration.
If issues persist, test for leaks. Gently press keys while blowing soft long tones in the low register. Notes that crack or refuse to speak may indicate pad leaks or misaligned keys. In that case, schedule a visit with a technician rather than forcing more air or biting harder.
Breath Support Lapses on Long Phrases
When long lines break down, separate the problem into air and phrasing. Practice the phrase on a single note, using a metronome, to ensure steady airflow and dynamic shape. Then reintroduce the written notes, keeping the same air pattern.
Use a simple metric: can you sustain a comfortable dynamic for at least 16 beats at a slow tempo without wobbling pitch or tone? Building this capacity makes it easier to achieve the kind of extended arcs heard in Kam's Mozart and Brahms interpretations.
Stage Nerves and Mental Disruptions
Stage anxiety often shows up as shallow breathing, tight embouchure and rushed tempos. Before going on stage, take three slow breaths, counting to four on the inhale and six on the exhale. Focus on the opening phrase's character rather than technical details.
If a mistake occurs, practice Kam-like composure by continuing the musical line without visible reaction. In rehearsal, intentionally insert a small error and train yourself to recover gracefully. Juries often value resilience and continuity as much as note-perfect execution.
Resources, Recordings and Further Reading
To deepen your understanding of Sharon Kam's artistry and apply her example to your own playing, combine active listening, score study and targeted reading. Prioritize reliable sources that document dates, venues and repertoire clearly.
Start with commercial recordings of Mozart and Copland concertos featuring Kam, along with at least one Brahms chamber disc. Listen with scores from publishers such as Bärenreiter or Henle, marking phrasing, breaths and dynamics that differ from the printed text.
Consult competition archives for the Carl Nielsen International Clarinet Competition to verify her 1999 results and repertoire lists. Cross-check this information with orchestra programs from the Berlin Philharmonic, London Philharmonic and Carnegie Hall to confirm performance dates and collaborators.
For technique and practice strategies, pair listening with established clarinet method books and etude collections. Use Kam's recordings as interpretive models while building your own technical base through works by Baermann, Rose, Jeanjean and contemporary studies.
Finally, keep a listening journal. After each focused session with a Kam recording, write down three specific observations about tone, phrasing or articulation and one concrete change you will test in your own practice. This closes the loop from inspiration to measurable improvement.
Key Takeaways
- Sharon Kam, born in 1971, built an international career through rigorous training, major competition success in 1999 and collaborations with top orchestras such as the Berlin and London Philharmonics.
- Her artistry centers on vocal phrasing, efficient breathing and calm, narrative-driven stage presence, all of which can be translated into concrete practice strategies for advanced students.
- Competition readiness inspired by Kam's example requires structured daily practice, mental preparation, reliable instrument maintenance and active listening to reference performances and recordings.
FAQ
What is Sharon Kam?
Sharon Kam is an internationally recognized classical clarinetist, active as a soloist and chamber musician. Born in 1971, she is known for her warm tone, refined phrasing and successful competition record, including First Prize and Audience Prize at the 1999 Carl Nielsen International Clarinet Competition.
How did Sharon Kam train and where did she study?
Kam grew up in a musical environment and began clarinet as a child, performing seriously by her teens. Her advanced training is closely associated with the Juilliard School in New York City, where she refined her technique and musicality through orchestral, chamber and solo studies with leading teachers.
What are Sharon Kam's major awards and competition achievements?
Her most documented achievement is winning both First Prize and the Audience Prize at the 1999 Carl Nielsen International Clarinet Competition in Odense, Denmark. Earlier in her career she also earned prizes at youth and regional competitions, which helped launch her international performance and recording opportunities.
How can I prepare for high-level clarinet competitions inspired by Sharon Kam?
Use a structured routine that balances fundamentals, repertoire and performance simulations. Plan daily work on tone, scales and articulation, then focus on detailed score study and slow practice. Add mock auditions, mental preparation, reliable reeds and consistent instrument maintenance to approach the stability heard in Kam's performances.
What breathing and phrasing techniques does Sharon Kam use?
Kam's playing suggests low, efficient breathing that supports long, vocal phrases. She shapes lines according to harmonic tension and release, often creating large arches across movements. To emulate this, practice long tones with dynamic shaping, mark phrase goals in your score and plan breaths at musically logical points.
Which recordings or collaborations by Sharon Kam should I listen to first?
Start with her Mozart Clarinet Concerto, a Copland Clarinet Concerto recording and a Brahms Clarinet Quintet or Trio performance. These works highlight her lyrical phrasing, stylistic flexibility and chamber sensitivity, providing clear models for students preparing auditions and competitions.
