the clarinet
Volume 33 Number 2 March 2006
born to be off-road
by Eric Mandat
The Austrian clarinet duo of Petra Stump and Heinz-Peter Linshalm has committed itself to working closely with composers to generate new works for various combinations of clarinets with or without electronic. Both artist studied at the University of Performing Arts in Vienna, where they both studied with Johann Hindler; later they also both studied bass clarinet with Ernesto Molinari. Each has been an active proponent of new music, and they have performed at many festivals in Europe as soloists and chamber musicians.
This double CD featurees many of the works written for the duo. The first CD, „ClarElectriC,“ features all new works for clarinet or bass clarinet duo with various types of electronic sounds; the second CD, „unplugged,“ includes two new bass clarinet duo works and two solo works from 1980s.
Several of the new works on the „ClarElectriC“ disc own a certain sonic allegiance to the moment form tradition as espoused by Stockhausen, althoug the generative source and ultimate structures of the works themselves are diverse. In Judit Varga´s Strictly Ballroom III for two clarinets and prerecorded sounds, close micro tones are the starting point from which the clarinetists gradually explore, venturing out from the sustained center with short staccato and slap tongue gestures. A second section introduces more space with interludes of vocal sounds throug the instruments or of minimalistic melodic fragments. Together with the prerecorded clarinet sounds, a quartet is effectively created which floats, drifts, and eventually fades.
Gerald Futscher´s Hufeisennasen (Horseshoe Noses) begins with bubbly synthesized sounds, couples with a scurrying motive which runs back and forth between channels. Understated comments from the two clarinets give way to more bravado flourishes in quasi-canon; eventually a plaintive solo sets up a long winding ascension to the final climax. The sampled „musique concrete-like“ sounds give a classic old school flavor to this nearly 20-minute long work.
im Schnitt, der Punkt (On average, the point) by Christoph Herndler, is based on a graphic score, printed in the liner notes, consisting of nine crossed lines, with different arrays of blackende and opend cirles at the termini of the lines. The realization is of slowly pulsing undulations an tremolos in all parts; the circular breathing by the clarinetists contributes to the concept of a piece without beginning or end. Later, an eerie disembodied voice appears and de CD part finishes with high sparkles.
trópico tránsito by Venezuelan-born Jorge Sánchez-Chiong features industrial/train station-like sounds combined with turntable needles working away on vinyl. There´s a certain sense of nostalgia hearing the pops and hiss of a record: it´s like sitting in front of the fireplace on a quiet winter evening. Eventually a low buzzing enters; at first it sounds like bad interference on Grandpa´s old short-wave radio, but soon becomes apparent it´s a bass clarinet playing low C. The second bass clarinet soon joins and before long their distorted low fundamental sounds produce a „Honey, I think we´ve angered the killer bees“ sound world. The work grows into an evermore intense fervor which abpruptly ends.
The second CD, „unplugged,“ begins with Beat Furrer´s APOKLISIS for two bass clarinets, in which the two performers trade short high-note gestures in a sparse, austere environment. There are also some extremely delicate fifth partial multiphonics for both players.
The CD concludes with Bertl Mütter´s nushu for two bass clarinets. The two instruments remain closely connected gesturally througout the five movements, from long quiet held notes to delicate lines, to short declamatory outburst.
The two solo works sandwiched between are two from the 1980s and highlight the individual artists´ solo skills. Both Salvatore Sciarrino´s Let me die before I wake for solo Bb clarinet (performed by Linshalm), and Claudio Ambrosini´s CAPRICCIO, detto: „l´Ermafrodita,“ interestingly sound like variations on „homage to the tremolo“. In the hands of lesser composers or performers, such a concept could get tedious after relatively few undulations, but the subtlety of speed variations, dynamic and breath control of both artists, and the strength of the compositions make these engaging contemplations on shimmering pulses. It is unfortunate that Sciarrino´s work requires an instrument with the low eb key, and because of the constant multiphonics throughout cannot be merely transposed to the A clarinet, nor can „ossia“ passages á la Berio Sequenza IXa be substituted at the appropriate moments without seriously damaging the music.
The Duo Stump-Linshalm is very much at home in this complex and steely sonic environment. They are completly sympathetic to each other and to the demands of the works, and their complete dedication to their art is constantly on display throughout.
Don´t buy this CD looking for hummable tunes, „neo-tonality“ pap or peppy dance beats.
Do buy this CD if you´re looking for serious, intellectually challanging music performed intelligently and seriously by this excellent duo.
