Clarinetist, Joseph Eller, was appointed as a member of the University of South Carolina
School of Music faculty in 2005. He has performed solo and chamber music recitals
throughout North and South America, Europe and Asia. Mr. Eller was appointed principal
clarinetist of the South Carolina Philharmonic in 2012 and has played extra with the
Atlanta Symphony Orchestra, the Atlanta Opera Orchestra, Charleston Symphony Orchestra
and numerous other orchestras throughout the southeastern United States. Previously,
he served as principal clarinetist of the Cobb Symphony Orchestra in Georgia from
1997-2005 and was the clarinet professor at Kennesaw State University from 1998-2005.
Additionally, he was principal clarinetist of the 214th Army Band in Atlanta, GA from
1996-2000, where he was a featured soloist on many of their national tours. He has
recorded on the Centaur, Mark, Vestige, Beauport Classical and Allgood record labels.
A native of Ypsilanti, Michigan, Mr. Eller received performance degrees from Eastern
Michigan University and Louisiana State University and began his doctoral studies
at the Peabody Institute. The teachers with whom he has studied include Steven Cohen,
D. Ray McClellan, Laura Ardan, Steven Barta, Dan Silver, Ted Oien and Armand Abramson.
Mr. Eller was co-Host and co-Artistic Director of the 2006 International Clarinet
Association convention, ClarinetFest® 2006, in Atlanta, GA.
He is a member of Pi Kappa Lambda, the College Music Society and serves as the South
Carolina State Chair of the International Clarinet Association. He plays on Buffet
R13 clarinets, Rico Reserve mouthpieces and Rico Reserve Classic reeds and he is an
artist/clinician for both the Buffet Group, USA and Rico. His hobbies include playing
ice hockey, racquetball, snow skiing, and reading. He, his wife Christie, and their
sons, Nick and Alex live in Columbia, SC and are active members of First Presbyterian
Reviews of 'Bach in Time' CD:
February 2014 issue of the Italian journal MUSICA:
This magnificent recording, made in 2010, will make you gasp: you will find in it
some Bach scores that have been transcribed by Joseph Eller, clarinetist, soloist
in several US orchestras and teacher of clarinet at the University of South Carolina.
Already in the E Sonata BWV 1023, in four movements, Eller proves himself as an expert
in Bach philology. Intimate and warm in the former Allegro, he gives as un Adagio
refined to the smallest detail, with appoggiaturas, acciaccaturas and mordents that
are always crystal clear. And in the Allemande and in the Giga the dialogue with the
organist Johnson is excellent.
The gem of this cd is the Toccata and fugue in D, BWV 565, a piece that has been played
by many organists, and that you will never imagine transcribed for solo clarinet.
But Eller succeeds in extrapolating its soul, proving us everything is possible. The
clarinet, according to its nature, has some acoustic limits, in intonation, extension
and harmonics. But Eller can play perfectly every single note, as he imagines his
“tube” as an organ pipe, with a sound that is rich, creamy in the centre-high notes
and beautifully fat below. Moreover, he shows off great technical ability and he avoids
bad taste: ovation!
Then, the G Sonata BWV 1029, transcribed for harpsichord and clarinet, played in mutual
understanding with the excellent Jerry Curry. The three movements follow one after
another with easiness, with perfects tempos and phrasing.
Then we hear three Arias, from Cantatas BWV 21 and BWV 93, transcribed for soprano,
continuo and clarinet. Tina Milhorn Stallard sings beautifully and, thanks to the
sound of the clarinet, this transcription makes these arias full of lyricism, connecting
them to the world of the Eighteenth Century opera. Particularly nice is the cantata
BWV 93, that gives you a sweet felling and introduces to the first movement of the
gorgeous Sonata in C BWV 1017. The musicians here are more introspective but always
full of passion. My compliments, then, to soprano Tina Milhorn Stallard, the organist
Jared Johnson, the cembalist Jerry Curry, the cellist Robert Jesselson and, obviously,
to the “king” of this recording journey, Joseph Eller. An interpretation that goes
beyond the instrument itself.
Click here review in the journal, Pizzicato, from Luxembourg