The Clarinet Ninja Blog

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Julian Bliss: Two Concertos That Change the Game

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Julian Bliss holding a clarinet with the text Julian Bliss: two cutting edge concertos

Julian Bliss on Big-Orchestra Bravery, Aho & Lindberg, and Why Slow Practice Wins

What happens when a world-class clarinetist leans into the roar of a huge orchestra and a score that asks for tremolos, multiphonics, shimmering textures—and, yes, even a gong? In my latest conversation with Julian Bliss, we dig into his new recording of two modern clarinet concertos and the very practical ways he prepares music that demands both fearlessness and finesse.

Two concertos, one shared lineage—and wildly different colors

Julian’s new album pairs concertos by Kalevi Aho and Magnus Lindberg—composers who, interestingly, studied with the same teacher at one point, yet write in strikingly different voices. Where Aho pushes extended colors (there’s a movement built from multiphonics and delicate tremolos), Lindberg brings a cinematic sense of scale—and even a gong—to the clarinet’s palette. The result: music that’s modern, bold, and surprisingly lyrical, with huge orchestral forces that still leave room for nuance.

Recording geekery: ribbons, spots, and spatial audio

We also get gloriously nerdy about microphones. Julian talks about the Coles 4038 ribbon as a solo spot in the session and how mic choice and placement shape what we hear—especially in spatial audio where the orchestra’s width comes alive. Takeaway: the “album sound” isn’t an accident; it’s dozens of tiny choices that add up.

Practice like a pro: slower than slow… then faster than fast

Julian’s preparation method is refreshingly concrete:

  • Start absurdly slow. Shape legato between individual 16ths, even if concert tempo is blistering—those micro-connections still register in the final feel.

  • Climb in clean increments. 50% → 60% → 70% → 80%… only speed up when you can run it mistake-free.

  • Train past tempo. Once the piece is at 100%, practice at 105–110% so performance feels comfortable (and adrenaline-proof).

Extended techniques with taste

Extended techniques are used as color, not gimmick. In Aho, that “shimmery, mysterious” movement of multiphonics is musical first—every effect serves the arc of the concerto rather than becoming the point of the piece.

For adult learners (and the rest of us): let technique serve the music

The heart of Julian’s approach—technique exists to free the music. If you’re an adult returner, this is the blueprint: refine tiny details at slow speed, build consistency, then add energy. The artistry comes from how beautifully those details stack.

🎧 Listen to the episode: 

Spotify

Apple Podcasts
📺 Watch the conversation: Youtube
💬 What part resonated—mic nerdery, fearless tempos, or the “practice past tempo” trick? Tell me in the comments!