Fröst's album testifies to the versatility of the clarinet, reminding us of the appeal of a single-reed timbre. The arrangements often showcase the clarinet's bright middle-register, facilitating Fröst's versatility, despite a relatively small palette of colours.

there are extraordinary moments. Indeed, the final few seconds of that Prelude [Suite No. 2] are exquisite: shaped in strength, vulnerability, resonance and decay, this is paradoxical playing at its most beguiling.

The variety of works and the instrumentation maintains listener interest throughout...the contemplative mood of this very personal album suits late-night listening.

The German composer was dead before the clarinet as we know it today was established, but Martin Fröst, his playing as silkily eloquent as ever, makes the short but sweet selection on this recording very much his own. There’s an intimate feel to the whole thing, which was recorded at Fröst’s studio in the Swedish countryside.