The Music of Magnus Lindberg

Author(s): John Warnaby

Source: Tempo, New Series, No. 181, Scandinavian Issue (Jun., 1992), pp. 25-30
Published by: Cambridge University Press
Stable URL: http://www.jstor.org/stable/945341 .
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John Warnaby
The Music of MagnusLindberg
Among composers born in the 1950s, who
witnessed the decline of the post-waravant-garde
- together with its most cherished principle,
integral serialism - the Finn Magnus Lindberg
has produced some of the most challenging
responses. It is tempting to attach considerable
significance to Lindberg'snational origins. Born
in 1958, he belongs to a particularly vital
generation of Finnish composers whose output
extends from traditional symphonic forms to
experimental creations involving electroacoustic
and computertechnology. On the one hand, they
have benefitted from the example of composers
(such as Aulis Sallinen) who emerged from
Sibelius's shadow not only by founding a strong
operatic tradition, but also by generating their
own brand of orchestral music. On the other,
severalof the younger generationhave continued
the practice of studying abroad, though without
sacrificing their independence from the
European mainstream.
Lindberg exemplifies, to an extraordinary
degree, this ability to absorb a wide range of
influences. After completing his apprenticeship
with Rautavaaraand Heininen in Finland, he
studied with Grisey, Globokar, Donatoni and
Ferneyhough. Berio, Boulez and Xenakis also
registered a strong impact, as did the writings of
Elias Canetti; but Lindberg did not allow this
diversity of compositional styles to hinder the
expression of his personal identity. On the
contrary,it encouraged him to explore a greater
variety of genres through which he was able to
convey the contrastingaspectsof his personality.
There are few indications of an interest in
standard forms; yet despite his links with
IRCAM, and his associationwith composers not
noted for their contributionsto the orchestra- let
alone the 'symphonic' repertoire - three of
Lindberg's most substantial works are for
orchestra, and he is currently completing an
orchestral commission. Moreover one piece,
Groundfor harpsichord,is a large-scalechaconne.
Unfortunately,this is among severalof Lindberg's
early scores which are not available in recorded
form (even from his publishers), but its title
indicates a facet of his technique which he has
continued to develop up to the present. Allied to
this is a marked tendency to think in terms of a
gradually evolving harmonic framework: not
necessarily associated with a ground bass, nor
even with the tempered scale. In recent years,
Lindberg's harmonic inclinations have been
given considerableimpetus through his growing
familiarity with the potential of computers,
especially the work on spectral analysis carried
out at IRCAM, but several of the early scores
already contain harmonic features which have
played an importantrole in the formulationof his
characteristicstyle. A good example is . .. de
Tartuffe,Je Crois (1981), for piano and string
quartet, in which Lindberg reworked material
from an untitled choral piece written three years
previously, while incorporatingquotations from
Lully and Rameau. The work was conceived as
incidental music for a production of Bulgakov's
play, Moliere. Linea d'ombra(1981), for flute,
clarinet, guitar and percussion, had literary
associationstoo. This piece also included spoken
phonetic material, which, together with the
rhythmic scheme of the composition, stemmed
from a brief extract of Italian poetry.
Lindberg'smusic has alwaysbeen characterized
by immense energy, frequently generated by the
conflict between primitivism and extreme
sophistication.This is particularlyevident in the
earlier works, where the composer's harmonic
preoccupations were off-set by a powerful
rhythmic impulse, and where his initial
involvement with computerswas combined with
the introduction of theatrical elements. He also
forged links between compositional ideas and
models derived from the social sciences. Action
SituationSignification,
for small ensemble and live
electronics, was one of the first products of an
interdisciplinary approach, using Canetti's
observationson the similarityof crowd behaviour
and that of various natural phenomena as the
starting-point of an investigation into ways of
combining natural sounds - the sea, rain, fire,
wind - with instrumental sonorities. This half-
hour work, dating from 1982, eventually inspired
the formationof the ToimiiEnsemble,whose wide-
ranging activities have been closely associated
26 The Musicof MagnusLindberg
with Lindberg'scompositionaldevelopment. The
instrumentalvirtuosityof the individualmembers
(including Lindberg himself as pianist), their
interest in using synthesizers,together with live
electronics, and their involvement in new music
as creators, as well as performers, were all in
accordancewith Lindberg'sexpanding outlook.
They also influenced the instrumentation of
several of his pieces: as individuals, as a self-
contained group, and even in conjunction with
orchestra.
Zona (1983), for cello and instrumental
ensemble, was one of the earliest works to be
associatedwith the Toimii Ensemble, in that their
cellist was the dedicatee. Broadly speaking, its
overall structureis an archform, with the soloist's
music describing a long downward curve from
the highest to the lowest register, before a more
rapid return to the original tessitura. Various
diversionstend to disguise the soloist's progress,
but the basic patternis enhanced by the fact that
the rest of the ensemble generally adheres to a
similar outline, at least until the latter stages of
the piece. However, it should be stressed that
Lindbergdid not conceive the link between the
cello and the rest of the ensemble in terms of the
opposition between soloist and tutti, familiar
from the conventional concerto. Instead, the
energy is generated from a different kind of
elemental conflict: between the primitive andthe
complex. The juxtaposition of these extremes
creates a directness of impact which is
immediately evident and is sustainedthroughout
the work's 20-minute duration. Partlythis is due
to amplification of the cello, for besides
establishing a balance with the rest of the
ensemble, when everyone is playing in the same
register, it lends an intensity which can be felt
even when the solo line is reduced to repetitions
of a single pitch at the centre of the work.
Kraft(1983/1985), the work which decisively
brought Lindberg onto the international stage,
can in fact be regarded as an extension of Zona,
with the role of the solo cello now being allotted
to the entire Toimii Ensemble. The soloists play
clarinet, cello, piano, percussionand synthesizer,
and as in Zona, amplification is frequently
employed in order that they can compete with
the orchestraplaying at full power. As in Zona,
also, Lindberg is preoccupied with the trans-
formationof rhythmicstructures;in this instance,
he created a computer programenabling him to
carry out these transformations with greater
flexibility. Accordingly,the relationshipbetween
the primitive and the complex is more fully
developed than in the earlierwork. In additionto
their conventional instruments, each of the
soloists is equipped with a large array of
percussion, consisting mainly of 'found' objects,
which contribute substantiallyto the primitive
aspect of the music. This is enhanced by the
theatricaldevice of distributingthe members of
the ensemble around the auditorium, and by
surrounding the audience with loudspeakers
from which the electronically amplified and
processed sounds emerge.
The structure of Kraft comprises two
movements, plus coda, and the contrasting
characterof the main sections reflects Lindberg's
changingattitudeto form duringthe period of its
composition.Thus, the second movementis more
fluid than its predecessor,even though it is based
on the principle of a chaconne. Thereafter, the
coda distils the preceding materialinto a single,
gradually changing chord, which ultimately
provides the work's resolution. However, within
this broad outline, the main interest stems from
the range of sonorities employed, and the
immense energy they help to produce. It is in this
sphere that Lindbergfuses the various influences
which have shaped his compositional develop-
ment, thereby eliminating many of the stylistic
boundariesthat have become a feature of recent
music. For instance, an interest in subtle textures
may appear to contradict his practice of
generatinglarge massesof sound. Nevertheless, it
is characteristicof Lindbergthat he confrontsthe
listener with this paradoxin terms of the violent
outburst with which the work begins. It is
immediately apparent that noise plays a central
role in Kraft,and that this element is not confined
to the unconventional instruments. Indeed, the
distinction between sound and noise rapidly
emerges as one of Lindberg'sprime concerns, as
opposed to subtleties of instrumental colour.
Thus an underlyingtheme in Kraftis the creation
of some kind of order from chaos; this can be
interpreted as a reflection of contemporary
experience, especially in view of the extent to
which the composition of Action Situation
Significationwas determined by extra-musical
considerations. It was this aspect of the music
which gave Kraftan even stronger identity - a
qualitythat was recognizedwhen it was voted the
outstanding work of the 1986 UNESCO
Rostrumof composers,andwas laterawardedthe
Nordic Council music prize.
In Kraft,Lindbergdispensed with the familiar
divisions of the orchestra,based on instrumental
'families', in favour of sonic massesproduced by
amplification and electronic fusion of various
sound-complexes into new formations. Indeed,
Kraft constitutes a compendium of his most
fundamentalcompositional techniques, and one

of the most fascinating events at the 1991
HuddersfieldFestivalof ContemporaryMusicwas
a lecture in which Lindbergexplained these, and
gave an account of subsequent developments.
Lindberg's work with computers, concen-
trating mainly on additive synthesis, soon
convinced him that in order to deal with the vast
potential available as regardsthe transformation
of sound, it was necessary both to create sound
synthesis models, giving precise descriptions of
sound phenomena, and to subject his compo-
sitional materialto rigorous organization.This is
not the place to discuss the various ways of
analysingsound, but it provides an opportunityto
consider Lindberg's particular approach to
generating pitch structures, as well as the
individualbrand of harmony he has developed.
Initially, Lindberg selects a sequence of
chords, or harmonicblocks; and in the process of
classifying these pitch aggregateshe establishesa
network of relationships between them. The
chords are usually presented in terms of a chain,
of recurring style (not always intended to be
clearly audible), and it is this characteristicwhich
has prompted comparisons with traditional
chaconnetechnique. As they recur, the chords are
graduallytransformedby means of a continuous
progression from one chord to another; in those
pieces involving electronics,analogousprocedures
The Musicof MagnusLindberg 27
ChesterMusic
nare associated with the transformation of one
instrumental timbre into another. Indeed, the
similarity of these processes has been influenced
by Lindberg's application of spectral analysis to
the study of instrumental timbre, and the
consequent ability to emphasizedifferent areasof
the overtone series, to enrich the harmony.
In Kraft, the harmonic aspect is still at a
comparativelyearly stage of development, so that
although Lindberg's basic principles have been
established, they tend to be more easily
recognizable in relation to other parameters,
notably rhythm.The work is based on a sequence
of rhythmic cells which are initially presented as
heterogeneous events, but are gradually trans-
formed until homogeneity is achieved. The
spatial element is exploited in a similar manner,
so that the notion of imposing order on chaos is
not confined to the theatricalor gesturalfeatures
of the score, but is fundamental to Lindberg's
compositionalmethods. In all his works, the basic
material first appears as a mass of harmonic,
rhythmic and melodic detail, whereupon the
music progresses towards ultimate coherence.
When Lindbergis not writing for members of
the Toimii Ensemble, his approach sometimes
tends to be less radical. Thus, Ritratto(1979/
1983), for 18 instrumentalists, is an attractive
piece, but hardly one of the composer's most
28 The Musicof MagnusLindberg
personal statements. On the other hand, Ur
(1986), for five players, is an unmistakeable
Lindbergcreation.It combinescomplexityandraw
energy in characteristicfashion, its intellectual
and emotional intensity giving rise to a work that
demands extreme virtuosity in performance.
Above all, Ur concentrates on the whole
ensemble, including a significant amount of
electronic processing, taking advantage of
proceduresdeveloped at IRCAM. It representsa
furtherstage in the composer'suse of chordaland
rhythmic sequences. These have been calculated
by computer, together with the processes which
govern their transformation, and a micro-
computer is also employed as an integral
component of the ensemble. The pianist
communicateswith the computer by means of a
MIDI keyboard, thereby activating the pre-
composed patternswhich are played on a Yamaha
Tx816 synthesizer in synchrony with the 'live'
players (clarinet/bass clarinet, violin, cello and
double-bass,in additionto the pianist).The resultis
an unusuallyflexible technique for incorporating
pre-recorded material into a 'live' performance,
so that both elements can easily be perceived.
There are also some impressive sonorities for
such a small group, as Ur follows the customary
trajectory towards a substantial measure of
coherence.
The same year (1986) Lindbergwon the Italia
Prize for music programmeswith his radiophonic
composition, Faust.This work demonstratesthe
extent to which he took advantage of the
medium, including its psycho-acousticpotential,
to create a distinction between music and radio
drama,as also between any form of'sonic art'and
the soundsof the everyday world. Juha Siltanen's
text is deliberately enigmatic (to the extent that,
despite the title, there is no reference to the
familiarlegend) but it has proved an ideal vehicle
for creatingimages in sound. In respondingto its
obscurity Lindberghas emphasizedthe phonetic
qualities of the words, treating the vocal sounds
as one of the many sources from which the
electroacousticmaterialis derived. The words are
not obliteratedby the more obviously 'concrete'
sonorities - including fluids circulating through
pipes and a variety of industrialnoise - yet they
are heard in ever-changing contexts. Multi-
tracking establishesa link between the principal
voices (both speakingroles) andthe clarinet- one
of the three solo instruments.Together with the
remainingsoloists (cello and piano), they are also
subjectedto a good deal of spatialmanipulation.
As a result, the surreal quality of the narrative,
concerning a couple undertakinga sea voyage to
Venice, is enhanced through the creation of what
might be called a sonic 'dreamscape',designed to
complementthe element of free associationin the
text. And thus the technique of 'defamiliari-
zation', inherent in the presentation of popular
images of Venice in distortedform - culminating
in the evocation of a burning city disappearing
into the sea - reaches its apotheosis in the
'concrete' sounds. Moreover, they create an
unfamiliar context for the instrumental and
orchestralmaterial.
One of the more surprisingfeaturesof Faustis
the relativelyminor role allotted to the orchestra.
It achieves its greatest prominence at the
beginning of the work, emerging from a
sequence of hammer-blowswhich emphasizethe
percussivecharacterof the initial speech. At this
stage, and from time to time thereafter, its
function is to establisha continuum between the
instrumentaland electronicallyprocessedsounds.
But as the piece unfolds, with the imagery
becoming increasingly bizarre and ambiguous
(for instance, flocks of blackbirdscoming out of
the walls), less tangible sounds are demanded.
Ultimately, Faust explores the limitations of
language, as is made clear by one of the
protagonistswho 'would forsakeeverything ... if
I could sink a single word into the water, see it
glitter night and day. . .' Hence the suitability of
radio for such a project, especially in view of
Lindberg's refusal to recognize traditional
boundaries between different art forms or
compositional styles.
In comparison with Faust,Lindberg'sKinetics
(1989) for orchestramay appear less extreme in
its radicalism, as the experimental impulse is
superseded by an extension of techniques
adumbratedin earlierworks. However, while the
work stressesthe importanceof continuity, it also
opens up new possibilities, particularly in the
harmonic domain, which Lindberghas exploited
in two subsequent scores. Rhythm plays a less
obtrusive role in Kinetics, as the chaconne
principle is used to create a recurring cycle of
chords which are manipulated in various ways.
Though the music is continuous, the work is sub-
divided into several sections, each characterized
by a different approach to the basic material.
Thus, the opening section presents the sequence
of ten chords in its simplest form, while
subsequent sections concentrate on more
elaborate transformationprocesses derived from
the original sequence. The titles of the individual
sections give an indication of the compositional
procedures employed, and these tend to
emphasize particulargestures, to the extent that
they influence the kind of relationshipestablished
with the basic chords. One section involves

counterpoint, as each chord of the 'chaconne' is
held in turn while the remaining chords of the
sequence revolve around it. In another, each of
the basic chords generates a further sequence of
ten chordswhich createa gradualtransformation to
successivechordsof the 'chaconne'.Thus the basic
sequence functions as a formula, and Lindberg
has compared his approachwith Stockhausenin
Mantra,where links are established between the
pitch material and other aspects of the score.
Indeed, the extensive use of the overtone series
provides a further connexion, and assumes
considerable significance in Kinetics,where it
functions as a furtherunifying factor. Each chord
has been calculatedby means of spectralanalysis
to ensure that all its constituents relate to a
fundamental.Lindbergexplainsthatthe choice of
chords usually precedes these calculations, since
it is possible to identify the fundamental of the
most chromaticexamples. The harmony can also
be enriched by highlighting different aspects of
the overtone series; this feature has contributed
substantially to the distinctive character of
Lindberg'sfinest creations.
Lindberg's preoccupation with the overtone
series, in conjunction with a harmonic language
indebtedto the serialtradition,is alreadyevidentin
Kinetics,where these two apparentlycontrasting
approachesto the organizationof pitch give rise
to a distinction between foreground and
backgroundmaterial.However, as a result of the
influence exerted by the fundamentalover each
serially constructed chord, foreground and
backgroundare not mutually exclusive, but in a
constant state of interaction. A similar interplay
between harmonyand rhythmis based on the fact
that each is capable of modifying the perception
of time. Consequently, Lindberg prevents them
interfering with one another by associating
repetitive rhythms with rapidly changing har-
monies, and repetitions of the 'chaconne'
material with correspondingly rapid rhythmic
and timbral alterations. The music is given
additional fluidity by means of metric modu-
lation, in accordance with the technique
developed by Elliott Carter.
The greater emphasis on motion and
kaleidoscopic textures in Kineticsis also a feature
of Lindberg'sensemble compositions, Mareaand
Joy. In addition, there is less reliance on extra-
musical stimuli, though Marea (tides) evinces a
continuing fascinationwith natural phenomena.
Nevertheless, the work is primarily concerned
with compositional processes, and largely
dispenses with the familiar contrast between
primitive energy and sophisticated expression.
Instead, contrast stems from the juxtaposition of
The Musicof MagnusLindberg 29
static chords and dynamic movement.
Marea is based on an eight-chord sequence
which appearsafter a relatively extended intro-
duction for a work of comparatively short
duration. Each time this 'chaconne' recurs, it is
characterizedby rhythmic, textual and registral
changes;but the overall plan of the work involves
a gradual acceleration of tempo from the wave-
like structureswhich form the introduction, to a
presto section constituting the main climax. This
scheme is complemented by a steady rise in
register, beginning in the bass, and reaching the
high winds and strings by the end of the coda.
Equally significant is the fact that there are no
electroacousticinstrumentsin Marea,though this
has made no obvious difference to the sound of
Lindberg'smusic, or his harmonicvocabulary(the
eight basic chords are all 12-note aggregates).
Whereas Marea is one of Lindberg's most
compact scores, lasting approximately ten
minutes, Joy is one of his most ambitious
undertakings, with a duration of half an hour.
Unlike previous works, Joy does not proceed
from maximum complexity to ultimate clarity,
but begins with the sound of keyboard instru-
ments (including synthesizer) and percussion,
reflecting the fact that the work originated as a
concerto for two pianos and two percussionists.
Only occasionally is the large ensemble used to
generate the same power as at the startof Marea,
but this does not mean that Joy is devoid of
harmonic or textual richness. On the contrary,
the re-introduction of electronics, including a
sampler keyboard, has encouraged Lindberg to
adopt a more expansive approach to these two
aspects.Thus, thejuxtaposition of serialharmony
with chords formed from the overtone series
provides the main element of contrastinJoy, and
it is within the domain of texture that they are
integrated. Synthesized sounds are successfully
blended with conventional instruments; as a
result, Joy is as notable for its subtlety as its
dynamism.
The overall span of the work is equally
impressive, demonstrating the architectural
potential of Lindberg's evolving harmonic
language.There is no hint of functionalharmony;
but on the other hand the prominence given to
the basic chord sequence avoids any suggestionof
fragmentation.Furthermore,it helps to create a
strong sense of harmonicrhythm;and this, allied
to the composer's use of metric modu-lation,
ensures that the single movement unfolds
coherently, creating the impression, at least for
one commentator1,that the work is much shorter
I David Horne in 'Music in our Time'; BBC Radio 3,
12 March1992.
30 The Musicof MagnusLindberg

than it actually is. Joy retainsmany of the salient
featuresof Lindberg'searlier output: the gradual
transformation of harmonic and rhythmic
material,as well as timbre; a perceptible increase
in tempo, culminating in a powerful climax
followed by a reflective coda; but modified in
accordancewith his stylistic development.
At least one critic has suggested thatJoy may
markthe beginning of a new phase in Lindberg's
career2.His forthcoming orchestralwork, plus a
projected Clarinet Quintet, may help to confirm
this observation, but the composer has already
2 Lauri Otonkoski: 'Marea'; Finnish MusicalQuarterly,2/91,
pp.20-24.
shown that computers and the latest electro-
acoustic technology can help to generate music
that is powerful and genuinely communicative
over a considerable time-span. Lindberg's
enthusiasmfor computers is not overwhelming,
but recognizes the extent to which they have
assisted his creative processes. The calculations
they have made possible have enabled him to
explore the integration of melody, harmony,
rhythm and timbre with a degree of flexibility
that cound not be envisaged by the advocates of
total serialism. Flexibility has become the
hallmark of Magnus Lindberg's style, contri-
buting to the impressive achievements that have
already given his oeuvre such distinction.

ISSN 0040-2982

Tempo? 1991 Boosey & Hawkes Music Publishers Ltd,

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