Charles West is an orchestral and chamber clarinetist and soloist, performing solo recitals or concertos throughout the United States, Europe, Latin America, Australia and Asia. He appears regularly on the programs of international gatherings of clarinetists in America and in Europe, and has been called “one of the most recorded clarinetists in American Academia.”
His recorded repertoire ranges from the most standard of sonatas to the most avant-garde, on labels including Klavier, Wilson Audiophile, Centaur, CRI, Crystal, and he is heard on a Grammy Award winning Telarc CD. West holds the Doctorate and three other degrees, has been a Fulbright Scholar, and he served as Treasurer of the International Clarinet Society.
He was instrumental in merging the present-day International Clarinet Association from two previously separate entities, and he was elected to the first Presidency of that organization. His career has included ten years as Principal Clarinet of the El Paso Symphony Orchestra, twelve as Principal Clarinet of the Flagstaff Festival Orchestra and one as Principal in the Peruvian National Symphony Orchestra.
He has held teaching positions in three North American universities, with guest professorships in South America, Taiwan, Hong Kong, and the People’s Republic of China. He has recently retired as Professor of Music at VCU. Recipient of VCU’s highest faculty honor, the VCUArts Award of Excellence, three of his books on Woodwinds are published by Meredith Music Publications.
Tell us about how you got started playing music.
At age 4 I showed an interest in the piano and so began piano lessons.
You have extensive teaching experience at the collegiate level. What’s some advice you would give to young clarinetists when they first start out in college?
Have good equipment and study how successful musicians practice–what they do and how they do it. Know that every hour you spend messing around, someone whom you will one day compete with is practicing. And on the other hand, Don’t take yourself too seriously.
What’s in your clarinet bag?
Toothpaste, toothbrush, reed clipper, reed knife, ear plugs (for sitting in front of brass or percussion sections!), some spare unopened reeds in case I forget my reed package, some spare pads, pad cement and springs, screwdriver, and several pencils.
Over the course of your career, what are some of the changes you’ve observed in the clarinet world?
Lots more women in the field, in fact, I’m seeing more women than men getting college jobs now. Also, everybody does some extended techniques now. Mouthpiece rails have gotten thicker, it seems to me, which stabilizes them a good bit.
Tell us about your experience playing with the Fairfax Wind Symphony. What makes this different from other groups you’ve played with?
FWS is a very good community band, on a level with well-known, well-established bands in places like Dallas and Chicago. It has grown considerably since I first filled in (in a pinch) over twenty years ago, and has been a labor of love for the conductor.
If you regularly perform with the Fairfax Wind Symphony and would like to be featured in our Performer Spotlight series please contact us!