Pre-verbal Music: Duo Stump-Linshalm’s Recording of Pierluigi Billone's 1+1=1

I    s it possible to approach music in silent [wordless] comprehension, without falling prey to human psychological, intuitive, irrational, spontaneous influences—i.e., those forms of comprehension engendered by words, text, speaking?”
  —  Pierluigi Billone.

P ierluigi Billone’s aleatoric work reminds me a little of Peter Eötvös’s and Ensemble Modern’s performance of Helmut Lachenmann’s ‘Schwankungen am Rand’ [Fluctuations at the edge]. Pierluigi had in fact spent some time studying with Helmut some years ago...

A    final angst-ridden attempt to strike water out of the stone of the dead monument known as [modernist] ‘music’.”
  —  Helmut Lachenmann, commenting on the aims of new music.

P lumbing the outer-limits of timbral space with each instrument. Sudden, explosive dynamics changes. Overblowing, harmonic-clipping and distortion of bass-clarinet reeds... wonderful, naturalistic colors. The harmonic palette is maybe a little like the songs of whales singing to each other, whales’ courting rituals...

T    he title of the work, ‘1+1=1’, is a quotation from an Andrey Tarkovskij film which points to the special relation between the two instruments [achieving a transcendent union by their playing together]... One drop plus another drop makes one larger drop, not two.”
  —  Petra Stump & Heinz-Peter Linshalm.

I t is impossible to know whether it is a ‘proper’ language with subjects, predicates, etc. But it has harmonic and lyrical and rhythmic features that (a) invite interest, (b) reward whatever interest and patience are sent its way, and (c) propel the interested listener to various kinds of meditation.

T    he variations that become part of instrumental technique through each individual discovery are traces—some clearer than others—of the human and cultural experiences that produced them and led to them. And they ‘vibrate’ in the act of listening—as particularity, identity, origin. They are sonic ‘layers’—living matter, with an intelligence of its own...”
  —  Pierluigi Billone.

L ooking at some of his scores, I wonder whether Billone is striving to be an archtypically ‘difficult’ composer. But electroacoustic digital material or specially-designed analog instruments or ‘found’ instruments, including rumbling and crumpling metal, play no role in this 70-minute composition. And the graphical/aleatoric score annotations are reasonably straight-forward, compared, say, to Stockhausen or Xenakis.

S onic materials and structure. Think like a whale and use what’s at hand. Reed, glottis, keys smacking against clarinet-body tone-holes, lungs. From time to time, things grind to a halt while Petra Stump and Heinz-Peter Linshalm slowly and punctuatedly smash hell out of their two bass clarinets’ keys). Alternately, there are moments where subtle, whispered tones only hint at the note that would sound were more air flowing past the expectant reed. Intertwining of pitch-bent/quarter-tone and microtonal passages by Stump and Linshalm are beautiful and wonderfully discursive, on account of the excellent recording and engineering of this disc. The beat-frequencies from the microtonal interferences between the two parts add extra depth to the music—a feature that’s accentuated by the spatial specifications that Billone designed for the piece to be performed.

T he two performers are positioned as far apart as possible (about 15 meters) while still permitting mutual acoustic influence and line-of-sight gesture. Each soul is spatially isolated... The interior of the studio is then “like the interior of a big instrument,” says Billone. No synthesizers or exotic digital sound-processing software were used in the recording/engineering of this CD. So, except for the technically and aesthetically excellent miking and mixing by Alfred Reiter at Klangforum Wien, it is almost an anti-technological work. Marine mammal-esque.

T    he flow of energy and merging of performer and instrument... One finds archaic [pre-historical, paleological] images taking form. It seems as if they were musical incantations intended to counteract the commodifiability of which the world of ‘administrated listening’ rests.”
  —  CD liner notes, ‘1+1=1’.

B esides Pierluigi Billone and the ‘1+1=1’ piece, other composers including Beat Furrer, Bernhard Gander, Bernhard Gal, Erin Gee, Christoph Herndler, Jorge Sánchez-Chiong, and Judit Varga have dedicated pieces to Stump and Linshalm. The diversity of Petra’s and Heinz-Peter’s playing and repertoire is really remarkable.


Duo Stump-Linshalm’s upcoming performances are listed here.

P etra and Heinz-Peter reside (as is poetically fitting considering the rocky etymology of their given names) in Berg 31, Götzis, Austria—in the beautiful Alps foothills south of the Bodensee, between Zurich and Innsbruck. The photo gallery on their website shows images from a number of mountainous places they have trekked. Pierluigi is currently Gastdozent für Komposition at the Musikhochschule Frankfurt, having just completed a guest professorship in Graz. (Envious, I think I would like to adjust some life-priorities to be more like Pierluigi’s or like Petra’s and Heinz-Peter’s?)


    [50-sec clip, Duo Stump-Linshalm, Pierluigi Billone, ‘1+1=1’, track2, 1.6MB MP3]


    [50-sec clip, Duo Stump-Linshalm, Pierluigi Billone, ‘1+1=1’, track8, 1.6MB MP3]

T    hey [Petra and Heinz-Peter] elicit the most unusual sounds from their instruments. These range from ethereal arabesques to enraged shrieking...”
  —  Ursula Strubinsky.

• Petra Stump and Heinz-Peter Linshalm website
  
• Pierluigi Billone website
  
• Pierluigi Billone at Digilander
  
• Helmut Lachenmann page at Breitkopf Härtel
  
• International Clarinet Association website
  
• Linshalm H-P, Stump P. Pierluigi Billone: 1+1=1. (Kairos, 2006.)
  
• Lachenmann H. Schwankungen am Rand. [Fluctuations at the edge] (ECM, 2002.)
  
• Physics of clarinet acoustics, UNSW Dept of Physics