



Martin Fröst
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“Until you’ve heard Martin Fröst, you really haven’t heard the clarinet.”
(The Times)
Chief Conductor: Swedish Chamber Orchestra
Artist in residence: NDR Elbphilharmonie Orchestra
Clarinettist, conductor and Sony Classical recording artist, Martin Fröst is known for pushing musical boundaries and has been described by the New York Times as having “a virtuosity and a musicianship unsurpassed by any clarinetist — perhaps any instrumentalist — in my memory”. Widely recognised as an artist who constantly seeks new ways to challenge and reshape the classical music arena, his repertoire encompasses mainstream clarinet works, as well as a number of contemporary pieces that he has personally championed. Winner of the 2014 Léonie Sonning Music Prize, one of the world’s highest musical honours, Fröst was the first clarinetist to be given the award and joined a prestigious list of previous recipients including Igor Stravinsky, Leonard Bernstein and Sir Simon Rattle. International Classical Music Awards voted him their 2022 Artist of the Year Award for his innovative global career, his impressive discography, and his philanthropy.
As a soloist, Fröst has performed with some of the world’s greatest orchestras, including Royal Concertgebouw Orchestra, New York and Los Angeles Philharmonic Orchestras, Leipzig Gewandhaus Orchestra, Munich Philharmonic, London Symphony Orchestra, Philharmonia Orchestra, NDR Elbphilharmonie Orchestra and Frankfurt Radio Symphony. He regularly collaborates with prominent international artists, including Yuja Wang, Janine Jansen, Leif Ove Andsnes, Roland Pöntinen and Antoine Tamestit, as well as performs in international events such as Verbier Festival in Switzerland, the BBC Proms in London and Mostly Mozart in New York. Fröst has appeared in some of the world’s most important concert venues, including Carnegie Hall, Concertgebouw Amsterdam and Berliner Philharmonie and he has toured in Europe, Asia, North America and Australia. He was Artist in Residence with Royal Concertgebouworkest for the 2022/23 season, the first ever wind player to be given that honour.
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In the 2025/26 season, Fröst continues to focus on his role as Chief Conductor of the Swedish Chamber Orchestra, with a particular emphasis on Brahms’s symphonies, conducting all of them throughout the season. The season features collaborations with guest artists including Torleif Thedéen, Veronika Eberle, Vilde Frang and Midori, and includes a six-date European tour with the project Beethoven DNA. He also holds the position of Artist in Residence with the Elbphilharmonie Hamburg, performing as a soloist three orchestral programmes with the NDR Elbphilharmonie Orchestra under the batons of Alan Gilbert, Paavo Järvi and Sakari Oramo, as well as one programme with the Israel Philharmonic conducted by Lahav Shani, and two chamber music concerts. As a soloist, Fröst presents a wide-ranging repertoire of clarinet concertos by Hillborg, Clyne, Jarrell, Beamish, Copland, Shaw, Nielsen, Mozart and Weber with orchestras such as Tonhalle-Orchester Zürich, Oslo Philharmonic, Dresdner Philharmonie and Orchestre National du Capitole de Toulouse and Atlanta Symphony Orchestra. He returns to Kristiansand Symfoniorkester with a play-conduct programme, following the success of this unique dual role across European orchestras in previous seasons. Additionally, he gives recitals at Boulez Saal Berlin with Roland Pöntinen, Fondation Pierre Gianadda in Martigny, and La Musikfest Parisienne.
Martin Fröst exclusively records for Sony Classical and his discography spans a wide range of repertoire. His most recent releases include Mozart: Ecstasy and Abyss with the Swedish Chamber Orchestra, part of a multi-year project exploring Mozart’s late works, as well as albums dedicated to Vivaldi and Messiaen. His upcoming release, Beyond All Clarinet History (B.A.C.H.), scheduled for October 2025, intertwines Bach’s timeless melodies with new arrangements.
A keen advocate of the importance of music education, in 2019 Fröst launched the Martin Fröst Foundation with the support of the world’s largest manufacturer of wind instruments, Buffet Crampon. The purpose of the organisation is to provide resources that can improve and enable children’s and young people’s access to music education and instruments. The Foundation aims to join forces with non-profit organisations and various sponsors across the world, having already established a presence in Kenya and Madagascar.
HarrisonParrott represents Martin Fröst for general management.
Contacts
Jane Brown Senior Director, Co-Head of Artist Management Jasper Parrott Executive Chairman HP Group & Associated Companies
worldwide general management
Jasper Parrott Executive Chairman HP Group & Associated Companies
Jasper Parrott Executive Chairman HP Group & Associated Companies
worldwide general management
Season Highlights
Club Musical de Quebec
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DVORAK arr WOSNER: Legends, Op. 59, Nos. 1-3
BRAHMS arr WOSNER: Clarinet Trio Op. 114
BRAHMS arr WOSNER: 2 Songs, Op. 91
JOHANN SEBASTIAN BACH arr FROST: Ave Maria
JOHANNES BRAHMS: Hungarian Dance No. 1
JOHANNES BRAHMS: Hungarian Dance No. 14
JOHANNES BRAHMS: Hungarian Dance No. 21
WITOLD LUTOSŁAWSKI: Dance Preludes for Clarinet and Piano nr. 1
WITOLD LUTOSŁAWSKI: Dance Preludes for Clarinet and Piano nr. 5
BÉLA BARTÓK arr. Göran Fröst: Romanian Folk Dances (Selection)
SHAI WOSNER: Bulgarian Gigue after J.S. Bach
Royal Conservatory of Music
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Library of Congress
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Rockport Chamber Music Festival
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Yale School of Music
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Princeton University Concerts
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Örebro Konserthus
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BEETHOVEN arr FROST: DNA
LUDWIG VAN BEETHOVEN: Symphony No. 7 in A major, Op. 92
Kammerakademie Potsdam
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JOHANNES BRAHMS: Hungarian Dance No. 1
GORAN/MARTIN FROST: Nomadic Dances
CARL MARIA VON WEBER: Concerto for Clarinet No. 1 in F minor, Op. 73
WOLFGANG AMADEUS MOZART: Symphony No. 38 in D major, K504 (Prague)
Festival de Sintra
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Academia de Música de Espinho
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JOHANNES BRAHMS: Hungarian Dance No. 1
BÉLA BARTÓK arr. Göran Fröst: Romanian Folk Dances (Selection)
GÖRAN FRÖST: Klezmer Dance no. 2
GÖRAN FRÖST: Klezmer Dance no. 3
AARON COPLAND: Concerto for clarinet
Verbier Festival & Academy
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Chamber music with Martin Fröst, Marc Bouchkov, Julien Quentin, Anastasia Kobekina, Milos, and Brendan Kane.
Royal Albert Hall
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AARON COPLAND: Concerto for clarinet
ARTIE SHAW: Concerto for Clarinet
Festspiele Mecklenburg-Vorpommern
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Sion Festival
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OLIVIER MESSIAEN: Quatuor pour la fin du temps
“Fröst retains his Peter Pan boyish looks, his phenomenal tone and his delight in dare-devil risk-taking. His velvet tone, plush even when whispered, was immediately established, and the range of his dynamic contrasts was truly astonishing… Fröst caught the bittersweet melancholy of the second movement Romanza acutely, while the Allegro con fuoco finale rattled along at electrifying speed.”
Martin Fröst’s exceptionally rich reading of Brahms’s Clarinet Quintet from 2014 (BIS records) is a performance that reminds the listener what chamber music is about… His velvety low pianissimo is something at which he excels. Fröst shines, but he does not dominate. And the vocal qualities in his playing are answered and enriched by the other four instruments. The excellent recording captures all this admirably, giving us the privileged impression that we’re close enough to the musicians to be able to feel some of this togetherness for ourselves.
“You would almost have though Mr. Frost was improvising the clarinet part from the impetuous freshness of his playing. The pensive, wistful slow movement, (as played here), seemed newly profound.”
“Martin Frost is one of the finest exponents of his instrument in the world at present”
“Fröst did not just perform the music, he became a reincarnation of the energetic restless laid-back Mozart… His playing was brilliantly executed with a purity and clarity that seemed to chart new dimensions for the work. Every section was well judged, every quiet moment, every fortissimo was given an emotional charge as he wove his playing into the fabric of the orchestral music.”
“Martin Fröst’s performance of it reached similar heights. In terms of tone quality, dexterity and sheer virtuosity, Fröst does stuff with a clarinet that mere mortals should not be able to do.”
“If the Copland displayed Fröst’s virtuosic skills in a jazz-inflected context, then the Bartók and traditional Klezmer Dances turned up the heat to boiling point as a dazzling array of sounds and extended techniques were hurled across the auditorium. … a truly joyous evening of music-making.”
“The program featured the charismatic Swedish clarinettist Martin Frost in a fleet, brilliant account of Mozart’s Clarinet Concerto. […] he instinctively moved with choreographic grace that complemented his expressive playing. As an encore he electrified the audience with a dazzling, wailing performance of a klezmer dance by his brother, Goran Frost.”
“ ‘Roots’ is already his second large-format special program …At the live premiere in the Art Nouveau-Stockholm Concert Hall, where the Nobel Prizes are awarded, the sold out hall was raving. (And they were there) to experience this tall blonde clarinet soloist as an entertainer who was intelligent, clever, charming and also very, very good on his instrument.”
“His concept album “Roots” (allegedly part of a larger “Genesis” project) connects Telemann to Hildegard von Bingen and goes directly to Göran Fröst (brother of the soloist). From Bartók it goes seamlessly into the Spaniard de Falla and from there to a Swedish folk … In short, courageous, curious and beautiful. And courage should — especially in this day and age, in the specialized classical landscape — be rewarded!”
“He boldly and effortlessly breaks through both genre and temporal boundaries with fun … The compilation is like a house in which one strolls from room to room, looking at different facets and marvelling. The architect of this house has hereby created a true work of art. It resounds with Martin Fröst’s usual clarinet brilliance.”
“The Swedish clarinettist Martin Fröst is always on the look out, always alert. On his new album “Roots”, he travels from the earliest classical roots to contemporary music … With Fröst it works perfectly — and live even better — because he is roaringly good on his instrument. Each piece drips with quality from a Klezmer arrangement by his brother Göran, folk dances by Bartok to a traditional Swedish folksong. While playing Fröst conducts the Royal Stockholm Philharmonic Orchestra. His tone curls smoothly to the musical core of each of the pieces.”
“This all served to highlight the marvel that is Mozart’s clarinet concerto, which the outstanding Martin Fröst played with irresistible character on a modern version of the basset clarinet for which Mozart wrote. Fröst’s legato in the adagio was particularly fine, while the wit and dexterity of his phrasing in the rondo made it feel as if Papageno was somehow on the platform. Interplay between soloist and a much reduced orchestra was exceptional. Here, finally, were hidden, and not so hidden, depths.”
“Musicians queue up to work with clarinettist Martin Fröst, even if it could be pointed out that it does them few favours: his extraordinarily pure tone, sinuous phrasing and seamless breathing technique tend to throw any tiny inaccuracies elsewhere on the podium into a relief they wouldn’t otherwise have had. Still, they seem happy to risk it – and audiences aren’t complaining.”