Media
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Reviews
“...there were excellent performances by the six musicians, led by flautist and music director Matthew Lynch. Berginald Rash’s clarinet playing was especially stylish.”
Read The Guardian’s full review of Spectra Ensemble’s Treemonisha at Arcola Theatre
“...what a fine debut it is: a delightful disc,... everything played with sensitive understanding and thoroughgoing technical skill, the whole full of subtle and evocative music-making.”
“The first of Satie’s Trois Gymnopédies fares particularly well in this translation for clarinet and harp. Satie’s piano pieces lend themselves well to sympathetic arrangement, and this is one of the loveliest I have heard, not least because it respects the apparent simplicity of the original. Rash and Gryson do full justice to the piece, Rash’s long lines being a thing of rare and special beauty.”
“Richly enjoyable, this disc is full of subtle and evocative music-making and full, too, of pleasant surprises. I am, as I hope I have made clear, full of admiration for the skills of the two performers and for the evident empathy between them”
Read MusicWeb International’s full review of Dathanna: Hues and Shades
“Rash’s delicate phrasing and mastery of playing at a softer dynamic is present in Aria, adding an intensity without too much volume to perfectly blend with harp.”
“This work [The Carnival of Venice] showcases Rash’s virtuosic side; he is able to rip through fast passages with ease and a light, flowing quality.”
Read The Clarinet’s full review of Dathanna: Hues and Shades
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Press Kit
photo credit Ishmael Claxton (@ishmaelclaxtonphotos), Carlos Castillo (@ccastillogarcia) & Mark Allen (@mark.allen.photos)
Articles
“Over May and June, in the gorgeous peripheries of the National Concert Hall, Rash has put together a stunning series of concerts exploring the work of a diverse cadre of composers historical and contemporary. The performances will see a cast of internationally renowned musicians playing seminal classical works including Libby Larsen’s ‘Black Bird, Red Hills’, Quinn Mason’s ‘Two Fleeting Dreams’, spellbinding string quartets by Nigerian composer Godwin Sadoh, as well as works by Haitian composer Rudy Perrault and Mexican composer Gabriela Ortiz, alongside canonic works from Ravel and Stravinsky.”
Read the full article at Totally Dublin
“It is my hope that through my own visibility, the doors I open, the strides I and others like me make to lift as we climb, the glass ceilings that are shattered and the shards we move out of the way for those following, we will see all of this reflected in how institutions, programmes, festivals and events centre, support, and priortise diversity - understanding that diversity is not the absence of quality.”
Read full interview with Clarinet & Saxophone
“Bringing all of our artistic strengths and experiences to the table, Mariam & I share an appreciation for Chineke! serving as a crucible replete with opportunities to meet other world-class musicians and develop further collaborations beyond its own creative borders.”
Read the full interview with The Clarinet
“I’m like a freedom rider for classical music, showing would-be black and brown artists a way through the underground railroad into the beautiful light of classical music. ”
Read the full interview with VAN Magazine