Anthony McGill is an award-winning American clarinetist, Juilliard-educated, former principal clarinet of the Metropolitan Opera Orchestra (joined 2004), and appointed Principal Clarinet of the New York Philharmonic in 2020. He is known for his warm, focused tone, lyrical phrasing, and advocacy for living composers and inclusive music education.

Who is Anthony McGill? Biography and Key Dates

Anthony McGill is one of the leading American clarinetists of his generation, recognized for his orchestral leadership, chamber collaborations, and solo performances. Born in Chicago, Illinois, he grew up in a musical family and developed an early affinity for wind instruments. His career blends elite orchestral work with teaching, advocacy, and a distinctive, vocal clarinet sound.

McGill began clarinet studies as a child in Chicago public school programs and youth ensembles. His brother, Demarre McGill, became a prominent flutist, and the two often cite their shared musical upbringing as central to their development. This family environment fostered disciplined practice, attentive listening, and a strong sense of musical responsibility that still shapes Anthony McGill's artistry.

Across his career, McGill has appeared as a soloist with major orchestras, performed chamber music with leading artists, and participated in high-profile national events. One notable moment was his performance at the 2009 presidential inauguration, where he played alongside Yo-Yo Ma, Itzhak Perlman, and Gabriela Montero, bringing clarinet playing to a global audience.

Because public sources sometimes present conflicting details about titles and dates, serious students should always cross-check biographical information with primary sources such as the New York Philharmonic and Metropolitan Opera artist pages. This is especially important when preparing program notes, academic work, or audition materials that reference McGill's career.

Education and Early Training (Curtis, Juilliard – graduation 2000)

Anthony McGill's formal training reflects a trajectory through some of the most demanding conservatories in the United States. He studied at the Curtis Institute of Music and later at the Juilliard School, where he completed his Bachelor of Music degree in 2000. This period refined his technical command and deepened his understanding of orchestral and chamber repertoire.

At Curtis and Juilliard, McGill worked with prominent clarinet pedagogues and immersed himself in orchestral repertoire, chamber music, and solo literature. Daily expectations included rigorous scale work, etudes, and orchestral excerpt preparation, which laid the foundation for his later orchestral leadership. These schools also exposed him to a wide network of composers and performers.

His conservatory years coincided with intensive ensemble experience, including student orchestras that regularly performed standard symphonic works. Repeated exposure to pieces like Rachmaninoff Symphony No. 2, Brahms symphonies, and Mozart concertos helped him develop a flexible approach to phrasing and color that would later define his professional playing.

McGill's education was not limited to technical study. He absorbed a strong emphasis on musical narrative, line, and character. Teachers often encouraged him to think like a singer or string player, focusing on legato, breath shape, and harmonic awareness. This vocal approach is a hallmark of his later performances and a key concept for students who wish to emulate his style.

Orchestral Career: Metropolitan Opera (joined 2004) and New York Philharmonic (appointed 2020)

Anthony McGill joined the Metropolitan Opera Orchestra as principal clarinet in 2004, a pivotal milestone that placed him at the center of one of the world's most demanding opera ensembles. Opera work requires exceptional stamina, color control, and flexibility, since clarinet parts must respond to singers, conductors, and complex stage timing.

At the Met, McGill developed a reputation for smooth blending, expressive solos, and reliable leadership within the woodwind section. Nightly performances of works by Verdi, Puccini, Wagner, and contemporary composers required consistent tone across long phrases, rapid dynamic shifts, and precise intonation in exposed textures.

In 2020, he was appointed Principal Clarinet of the New York Philharmonic, one of the oldest and most visible orchestras in the United States. This role shifted his focus from opera pit to concert stage, with increased prominence in symphonic solos and subscription concerts. Students often study his phrasing in standard works programmed by the New York Philharmonic.

Because online sources occasionally mix current and past positions, it is wise to verify McGill's present title and affiliations directly with the New York Philharmonic and other official biographies. For audition preparation, always align your program notes and resumes with these primary references to avoid outdated or conflicting information.

McGill's orchestral career also includes guest appearances and collaborations with ensembles across North America and Europe. These engagements highlight his adaptability to different acoustics, conductors, and stylistic expectations, offering a model for early-career orchestral clarinetists navigating varied professional contexts.

Signature Repertoire and Notable Solos (Rachmaninoff No.2 Adagio, Mozart Concerto)

Anthony McGill is often associated with lyrical, singing clarinet solos in both opera and symphonic repertoire. Two particularly instructive examples for students are the Adagio from Rachmaninoff Symphony No. 2 and the Mozart Clarinet Concerto in A major, K. 622. These works showcase his control of line, color, and pacing.

In Rachmaninoff Symphony No. 2, the third-movement Adagio features an extended clarinet solo that demands sustained legato, impeccable intonation, and smooth register transitions. McGill's interpretations typically emphasize a vocal, almost string-like line, with carefully shaped crescendos and decrescendos that follow harmonic tension rather than bar lines.

For the Mozart Clarinet Concerto, McGill's style highlights clarity, elegance, and a warm yet transparent sound. His phrasing often favors long, arching lines and subtle dynamic inflections, avoiding exaggerated rubato while still sounding deeply expressive. Students can learn a great deal by comparing his approach to that of other major clarinetists.

Beyond these staples, McGill is known for championing works by living composers and underrepresented voices. He has performed contemporary concertos and chamber works that expand the clarinet's expressive range. Studying his recordings of new music can help players understand how to apply traditional fundamentals to modern harmonic and rhythmic languages.

When preparing orchestral solos associated with McGill, such as Rachmaninoff No. 2, Brahms symphonies, or operatic excerpts, focus on matching his balance of technical security and emotional clarity. Listen for how he aligns vibrato-like inflections, dynamic shapes, and articulation with the underlying harmony and orchestral texture.

Core Technique & Practice Methods (embouchure, long tones, breath control, phrasing)

Anthony McGill's sound is built on a stable embouchure, consistent air support, and a clear concept of vocal phrasing. While each player must adapt to their own physiology, several core principles from his approach can guide advanced students who want to move toward a similar warmth and focus.

For embouchure, McGill favors a relaxed but firm seal around the mouthpiece, with the lower lip cushioning the reed and the upper teeth resting lightly on the mouthpiece. The corners of the mouth draw inward slightly, creating stability without excessive pressure. This setup allows the reed to vibrate freely while maintaining control in all dynamics.

Long tones are central to McGill-inspired practice. Sustaining notes across the full range, with careful attention to pitch, color, and smooth attacks, builds the foundation for his even, singing tone. Many players benefit from daily long-tone work that starts in the chalumeau register and gradually ascends, maintaining identical quality in each register.

Breath control is another defining element. McGill's phrases often feel like a single exhalation, supported from the lower abdomen and back. Practicing slow, controlled exhalations away from the instrument, then transferring that sensation to long tones and lyrical passages, helps develop the steady air stream needed for his type of sound.

Phrasing in McGill's style follows musical grammar rather than mechanical bar lines. He shapes lines according to harmony, contour, and text (in opera) or implied text (in instrumental music). Students should sing phrases, mark harmonic goals, and plan breaths that support musical direction, not just physical necessity.

Workshop Exercises: Long-tone Routines, Register Transitions, and Phrasing Drills

To translate Anthony McGill's concepts into daily practice, advanced students need specific, repeatable exercises. The following workshop-style routines focus on long tones, register connections, and phrasing, all aligned with the kind of control and expressivity heard in McGill's performances.

Long-tone routine for McGill-style tone

Start with middle G and hold for 12 to 16 counts at mezzo piano, then crescendo to mezzo forte and decrescendo back, all on a single breath. Aim for absolutely stable pitch and color. Repeat on each chromatic note down to low E, then up to high C, always matching timbre and focus.

Next, add dynamic extremes. Play each note for 8 counts at pianissimo, then 8 counts at forte, without changing embouchure shape. Listen for whether the tone spreads or thins. Adjust air speed and support, not jaw pressure, to maintain a McGill-like core sound at all dynamics.

Register transition drills

McGill's smooth register shifts rely on even air and consistent voicing. Practice slurred octave and twelfth exercises: for example, low F to middle C, then low G to middle D, continuing upward. Focus on keeping the embouchure stable while using air and tongue position to guide the shift.

Then, practice broken arpeggios that cross the break, such as low E – B – G – high D, slurred. Record yourself and listen for any bumps or color changes. Aim for the same warmth and clarity you hear in McGill's Rachmaninoff and Mozart playing, especially in exposed solo lines.

Phrasing drills modeled on lyrical solos

Choose an 8-bar phrase from the Rachmaninoff Symphony No. 2 Adagio clarinet solo. Sing the phrase on a neutral syllable, marking where the line peaks and relaxes. Then play it slowly, exaggerating dynamic shape and direction. Gradually increase tempo while preserving the same long-line feeling.

Apply a similar process to a movement of the Mozart Clarinet Concerto. Identify cadences and harmonic arrivals, then plan crescendos and decrescendos that lead to those points. This method trains you to think like McGill: always connecting technical execution to harmonic and emotional goals.

Troubleshooting Common Clarinet Challenges (high/low register balance, blending, intonation)

Anthony McGill's playing appears effortless partly because he systematically addresses common clarinet problems: uneven tone between registers, blending issues in ensemble, and unstable intonation. A structured troubleshooting process helps advanced students move closer to that level of reliability.

When tone or response feels inconsistent, first isolate the problem. Ask whether the main issue is sound quality, pitch, or finger coordination. Play slow long tones on the affected notes, then adjacent notes, to determine if the problem is localized or part of a broader setup issue involving reed, mouthpiece, or embouchure.

For high-register thinness, check embouchure pressure and air speed. McGill-like high notes require fast, supported air with a relaxed jaw. Practice sustained high G, A, and B at mezzo piano, then crescendo without tightening. If the sound pinches, consciously release jaw pressure while increasing abdominal support.

Balancing low and high registers often comes down to voicing. Use slow scales that span the break, focusing on keeping the same vowel shape in your oral cavity. Many players find that imagining an “ah” or “oh” vowel helps unify tone. Record and compare low-register and high-register color, adjusting until they match more closely.

For intonation, use a tuner as a diagnostic tool, not a crutch. Play long tones on problem notes, then adjust using embouchure flexibility and air support rather than biting. McGill's stable pitch comes from consistent air and subtle voicing changes, not constant jaw corrections. Periodically check tuning with drones to train your ear in context.

Blending in orchestra or chamber settings requires listening as much as playing. Practice orchestral excerpts while playing along with recordings, aiming to match not only pitch and rhythm but also color and articulation. This habit mirrors how McGill integrates his sound within the New York Philharmonic and Metropolitan Opera woodwind sections.

Instrument Notes & Historical Context (reference to Martin Freres usage and legacy instruments)

Anthony McGill's specific equipment choices can vary over time, and detailed data such as exact reed strength, mouthpiece model, or barrel design are not always publicly documented. What remains consistent is his focus on a mouthpiece-to-lip connection that allows for a flexible, resonant sound across all registers.

Key factors in his tone include a balanced facing curve on the mouthpiece, reeds that respond easily without collapsing under pressure, and a clarinet setup that speaks evenly from low E to the altissimo range. Students should work with teachers and technicians to find equipment that supports a similar balance of warmth and clarity.

From a historical perspective, clarinetists across generations have pursued the same core goals that characterize McGill's sound: even scale, singing legato, and stable intonation. Earlier makers, including Martin Freres, produced clarinets that contributed to this evolving tonal ideal. Vintage Martin Freres instruments illustrate how bore design and keywork gradually moved toward the flexibility modern players expect.

While McGill's own clarinet is a modern professional instrument, the lineage of design improvements that make his sound possible includes contributions from many historical makers. Bore proportions, tone hole placement, and key ergonomics all influence how easily a player can realize a vocal, connected line in the style he demonstrates.

Because public interviews rarely list every technical specification, there is a research gap regarding McGill's exact reed strengths, ligature type, or barrel dimensions. Serious students who want to approximate his setup should consult respected clarinet technicians and consider play-testing multiple configurations rather than copying incomplete online lists.

Maintenance & Care – important steps

Consistent sound in the style of Anthony McGill depends not only on technique but also on a well-maintained instrument. Many existing discussions of his playing overlook basic care, yet regular maintenance is important for stable response, reliable intonation, and comfortable key action during demanding orchestral work.

Daily, swab the clarinet thoroughly after each session, including separate swabs for the mouthpiece and body. Wipe excess moisture from tenons and gently dry pads with cigarette paper if they become sticky. Rotate reeds, using at least 4 to 6 in an active cycle, to avoid overplaying any single reed and to keep response predictable.

Weekly, check corks for dryness and apply a small amount of cork grease to ensure smooth assembly without forcing joints. Inspect pads visually for fraying or discoloration and listen for any new key noise or sluggishness. Clean the mouthpiece with lukewarm water and a soft brush, avoiding hot water that could warp the material.

Seasonally, monitor humidity, especially if you live in climates with large temperature swings. Use a case humidifier in very dry conditions to reduce the risk of cracks and warping. In humid environments, allow the instrument to air dry fully before closing the case for long periods, to protect pads and metal parts.

Plan a professional technician checkup at least once a year, or more frequently if you play heavy schedules similar to major orchestral work. Ask the technician to assess pad seal, spring tension, key alignment, and bore condition. A well-regulated clarinet allows you to focus on McGill-like phrasing and color instead of fighting mechanical issues.

Reed storage also affects consistency. Use a ventilated reed case that keeps reeds flat and protected. Label reeds by date and strength, and retire any that develop dead spots or unstable pitch. McGill-level reliability in performance begins with reeds that respond the same way every time you play.

Teaching Philosophy & Practice Planning (intentional sessions, recording, goal setting)

Anthony McGill is widely respected not only as a performer but also as an educator and mentor. His teaching emphasizes intentional practice, clear musical goals, and honest self-assessment. Advanced students can adapt these principles to design practice plans that steadily move them toward professional-level playing.

Intentional sessions start with a defined focus: tone, articulation, a specific excerpt, or a solo movement. Rather than playing through large amounts of material passively, McGill-style practice isolates small sections and addresses concrete issues such as note connections, dynamic shape, or rhythmic clarity. This approach prevents mindless repetition.

Recording practice is a powerful tool McGill often recommends in interviews and masterclasses. Set up a simple audio or video device and capture short segments of your work. After each take, listen back critically, noting where tone, pitch, or phrasing diverge from your ideal. Use these observations to plan the next repetition.

Goal setting should be both short-term and long-term. A short-term goal might be achieving a smooth register shift in a specific bar of Rachmaninoff No. 2, while a long-term goal could be preparing the entire solo for an audition. Write these goals down and revisit them weekly, adjusting as you progress.

Structuring practice into blocks can help maintain focus. For example, a 90-minute session might include 20 minutes of tone and long tones, 20 minutes of scales and articulation, 30 minutes on orchestral excerpts, and 20 minutes on solo or chamber repertoire. This balanced plan mirrors the varied demands of McGill's professional life.

Finally, McGill's broader philosophy stresses musical communication and storytelling. He encourages students to think about what they want to say with each phrase, not just how to execute it technically. Keeping this artistic purpose in mind can transform routine exercises into meaningful preparation for real-world performance.

Recommended Recordings, Interviews, and Sources to Study

To internalize Anthony McGill's style, listening and score study are as important as physical practice. Seek out high-quality recordings where his playing is clearly featured, and use them as reference points for tone, phrasing, and articulation. Combine this listening with active analysis and imitation in the practice room.

Recordings of Rachmaninoff Symphony No. 2 with McGill on principal clarinet provide an excellent model for the Adagio solo. Listen for how he shapes the long lines, balances with strings, and manages dynamic swells without losing core sound. Follow along with the score to see how his phrasing aligns with harmonic motion.

Performances of the Mozart Clarinet Concerto featuring McGill highlight his approach to classical style: clean articulation, transparent tone, and subtle rubato. Study the way he articulates repeated notes, handles appoggiaturas, and paces cadential figures. Try playing along with the recording to match his timing and color.

Interviews and masterclasses with McGill offer insight into his practice habits, teaching priorities, and artistic values. Look for sessions where he discusses breathing, long tones, and musical storytelling. Take notes on specific exercises he mentions, then incorporate them directly into your own routine.

Official biographies and orchestra profiles provide the most reliable information about his career timeline and current positions. When writing program notes or academic work, cross-reference multiple reputable sources to avoid outdated or conflicting details, especially regarding his roles with the Metropolitan Opera and New York Philharmonic.

Finally, explore chamber music recordings and collaborations with other artists. These contexts reveal how McGill adjusts his sound and phrasing to different partners and acoustics, offering valuable lessons in flexibility and ensemble awareness for aspiring orchestral and chamber clarinetists.

Key Takeaways

• Anthony McGill's artistry combines a vocal, singing tone with disciplined technique, shaped by elite training and major orchestral positions.
• Daily long tones, focused register work, and intentional phrasing practice are important to approaching his level of sound and control.
• Reliable maintenance, thoughtful equipment choices, and structured practice planning support the consistency required for high-level orchestral playing.

FAQs

What is Anthony McGill?

Anthony McGill is an American clarinetist recognized as one of the leading orchestral and solo players of his generation. He is Juilliard-educated, served as principal clarinet of the Metropolitan Opera Orchestra, and was appointed Principal Clarinet of the New York Philharmonic in 2020.

How did Anthony McGill develop his signature clarinet tone?

McGill's signature tone grew from early training in Chicago, intensive study at Curtis and Juilliard, and years of professional orchestral experience. He emphasizes a relaxed but stable embouchure, focused long-tone practice, steady breath support, and a vocal approach to phrasing that treats the clarinet like a singing voice.

Which orchestras and positions has Anthony McGill held?

Anthony McGill joined the Metropolitan Opera Orchestra as principal clarinet in 2004, performing in a wide range of operatic repertoire. In 2020, he was appointed Principal Clarinet of the New York Philharmonic. He also appears regularly as a guest soloist and chamber musician with other major ensembles.

What practice exercises does McGill recommend for orchestral solos?

McGill often recommends long tones for tone and intonation, slow practice of difficult passages, and focused work on register transitions. For orchestral solos, he suggests isolating small sections, singing phrases before playing, and recording yourself to evaluate tone, pitch, and phrasing against a clear musical ideal.

Which recordings or solos should I study to emulate McGill's style?

Study recordings of Rachmaninoff Symphony No. 2, especially the Adagio clarinet solo, and performances of the Mozart Clarinet Concerto featuring McGill. Also explore his chamber music and contemporary works to hear how he applies the same core sound and phrasing principles across different styles and ensembles.

What maintenance steps are important to keep a clarinet sounding consistent?

Important steps include daily swabbing, regular reed rotation, weekly cork greasing and pad checks, and careful mouthpiece cleaning. Monitor humidity to protect the wood, and schedule a professional technician checkup at least once a year. A well-maintained instrument supports the stable tone and response needed for McGill-level playing.