The Clarinet

Fantasy Studies. Heinz-Peter Linshalm, contrabass clarinet, bass clarinet, clarinet, E-flat clarinet; Thomas Frey, alto flute, piccolo; Roland Schueler, violoncello; Alfred Reiter, soprano saxophone, spring drum; Thomas List, soprano, tenor and bass recorder, triangle; Katharina Lugmayr, tenor recorder; Caroline Wüst, bass clarinet; Anna Koch, bass clarinet; Petra Stump-Linshalm, clarinet. Petra Stump-Linshalm: Uisge Beatha [ɯʃkʲe ‘bɛha] – A Guide to Flavours for Solo Contrabass Clarinet, Wändelesen for Alto Flute, Bass Clarinet and Violoncello, Cinnamon Roses for Two Clarinets, Blanda for Two Tenor Recorders, Trotzig for Three Bass Clarinets, Fantasy Studies for flute (piccolo and alto flute), clarinet (E-flat and bass clarinet), soprano saxophone and spring drum, recorder (soprano, tenor, bass recorder) and triangle, and violoncello. Orlando Records, OR0033. Total Time: 73:38. 

In Fantasy Studies, Petra Stump-Linshalm presents the listener with a unique aural experience for a variety of clarinets from solo contrabass to an ensemble for flute (doubling piccolo and alto flute), clarinet (doubling E-flat and bass clarinet), soprano sax and spring drum, recorders, triangle and cello. These works are composed and performed by Stump-Linshalm and small chamber groups. Though becoming more prevalent, repertoire for the lowest members of the clarinet family are still not well-known or understood. Stump-Linshalm’s Uisge Beatha – A Guide to Flavours was written specifically for solo contrabass clarinet and is a great example of the possibilities of the instrument as center stage soloist. The work’s title is the Irish term for whiskey, and the composer describes each movement as a different aroma of the drink. In listening to the work, we can easily hear the pulsing that seems to pervade the thematic material of each movement – whether obvious or tertiary – that clearly connects to the rising scent of a well-aged dram. Extended techniques are employed but not overused here, showing off the performer’s ability to shape each delicate melodic motive. As this work develops, we can sense the aromas of each whiskey opening up as the range of each movement broadens. In seven movements we hear passionate and intentioned playing, with occasionally some peripheral key noise. Peat Monster for solo contrabass and tape (or four contrabass clarinets) follows and is a welcomed juxtaposition to the more relaxed melodic material presented in the previous movements. We hear the full range of the contrabass here through vibrant, exciting technical moments posed against glassy flashes of introspection. Wandelesen for alto flute, bass clarinet, and cello as well as Fantasy Studies showcase the composer’s compositional style for chamber ensemble and feature extended techniques that highlight the less frequently used colors on each instrument including wind sounds, key slapping, and slap tonguing as primary material. The other trio pieces on the recording, Cinnamon Roses, Blanda, and Trotzig, are almost conversational in nature, giving the feeling that the instruments are speaking to one another in a language that we don’t quite understand. The use of slides, quarter tones, and other less traditional elements of the tonal language make this texturally minimal style truly captivating to listen to and demonstrate a wealth of technical control and vibrancy heard across the entire clarinet family.

– Vanessa Davis