Magnus Lindberg's Recent Orchestral Music

Author(s): Stephen Long

Source: Tempo , Apr., 1999, New Series, No. 208 (Apr., 1999), pp. 2-8
Published by: Cambridge University Press

Stable URL: https://www.jstor.org/stable/944665

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 Stephen Long

Magnus Lindberg's Recent Orchestral Music

The decades immediately following World the late 1980s, he was influenced by the
War II constituted a flourishing period of French spectralist movement with its focus on
musical innovation on the international scene, harmony and timbre, while at the same time
encompassing a considerable range of stylisticutilizing earlier classical techniques, such as the
orientations and techniques. Exploration that chaconne principle. He established an even
led to genuinely innovative compositional greater rapprochement with tradition during
practices involving relationships among the 1990s, favouring neo-classical principles
melody, harmony, rhythm, and timbre of formal balance, greater clarity of texture, and
reached fruition by the mid-1980s. a stronger interest in the linear component.
Accordingly, the challenge to composers His who
most recent works demonstrate a highly
emerged during this latter period was twofold: developed treatment of many of the compo-
to develop personal styles through a discrimi- sitional techniques and resources that have
nating selection from this large heritage preoccupied
of him since the 1980s.
techniques and stylistic resources - and, inLindberg'sthe ability to maintain continuity
process, to avoid imitating composers who amid had
stylistic shifts is manifest in particular
used them earlier. In countries not dominated pieces that signal change of direction while
by any particular compositional doctrine - retaining some characteristics found in
most notably the United States, Great Britain immediately preceding works. Thus Kinetics
and the Nordic countries - important composers (1989), which marks a new concentration on
emerged as consolidators who combined and spectral harmony and a more intensive use of
synthesized these resources in a fresh and the chaconne principle, also exhibits much of
individual manner. One who has responded the primeval expressive force and density of
most successfully to this challenge is Finland's texture characteristic of earlier scores.
Magnus Lindberg. Similarly, Corrente I and II (1992) establish a
Lindberg has always shown a penchant for new harmonic framework and introduce
dramatic gestures, busy energetic textures, minimalist-like ostinatos, while still utilizing
and sensuous ensemble timbres. This explains spectral harmonies and maintaining a charac-
a predilection for the orchestra, his 'hyper- teristic rhythmic energy. One of the most
instrument', which provides the greatest valuable tools facilitating this process of
potential for the maximum interplay of these renewal and integration is the composer's use
elements. The composer's concentration on of the computer as a compositional aid in the
the orchestral medium serves as a convenient exploration of relationships among musical
focal point for an examination of his recent parameters.
stylistic development. Corrente I and II mark a turning point for
From the beginning of his career in the Lindberg in his temporary abandonment of
late 1970s, Lindberg displayed an experimental the chaconne principle, which had served as
spirit and a catholic attitude towards appro- the foundation for the articulation of chains of
priating techniques and resources which chords, often in a very gestural manner, in the
suited his expressive purposes - an orientationorchestral trilogy Kinetics, Marea, and Joy
(1988-90)i, and the Piano Concerto (1990-
encouraged by contact with figures representing
a diversity of aesthetic outlooks, including 94). A new harmonic foundation for Corrente
Ferneyhough, Lachenmann, Grisey, and I and II is based on layering of overlapping
Donatoni. In his early period, Lindberg's scale fragments and represents a movement away
already sophisticated compositional techniquefrom the earlier gestural orientation. More-
engendered use of a broad range of resources,
including serialism, electronics, and quotations ' On which see John Wamaby, 'The Music of Magnus
from earlier historical periods. Beginning inLindberg', Tempo 181 (une 1992), pp.25-30.

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 Magnus Lindberg's Recent Orchestral Music 3

over, Lindberg creates a strong relationship is arguably Lindberg's most ambitious and
between harmony and rhythm by combining important work to date, a 'resume' piece that
scale aggregates with rhythmic patterns to summarizes and synthesizes earlier composi-
create what he calls a 'narrative sense of direction'.2 tional techniques and resources. Moreover, it
Although the composer states his intention to consolidates elements which were becoming
avoid a reliance on harmonic progressions, they are increasingly important in Coyote Blues (1993):
occasionally utilized and serve a twofold purpose. clearly articulated declamatory gestures, trans-
First, they provide a more palpable harmonic parent textures, and formal balance of ensemble
identity to a polyrhythmic environment where and tutti passages.
the harmonic content, although rich in associa- Lindberg's penchant for synthesis in Aura also
tions, has been less clearly articulated in the extends to its formal scheme; the work's hybrid
linear presentation of rhythmic figures and scalar approach to form fuses characteristics of a sym-
aggregates. Second, the progressions create a phony and a concerto for orchestra. Divided
firm sense of direction toward the climaxes of into four movements of contrasting expressive
the first two sections and bring a sense of closurecharacter, textures, and tempos, the formal arc
at the end of the work. of the piece resembles a grand symphonic
Lindberg has prepared different versions design:
of a weighty first movement presenting a
various pieces in the 1990s. Arena and Arena 2rich variety of ideas, a slower second movement
vary primarily in the size of the ensembles and
emphasizing a mosaic-like structure of disparate
instrumental and textural details. On the other materials and families of instruments, a scherzo-
hand, the differences between the Corrente like third movement featuring mechanical
pieces reveal an evolving conception of his ostinatos, and a fourth movement gathering
materials and of formal balance among sections.material from preceding movements into a
Corrente II is longer than the original version stronger narrative flow, which reveals new
by at least a third and includes new material, perspectives and provides direction to an overall
primarily in the second and third parts. This dramatic climax.
expansion bestows greater balance to the formal The large-scale architecture shows that
scheme by reducing the differences in durationLindberg has also been influenced by the designs
between them. of Lutoslawski's Second and Third Symphonies:
The extension (bars 163-202) of the second a two-part form where material is presented
part introduces slow-moving chords which servewithout a strongly directional context in the first
diverse functions. First, they not only provide
greater internal variety of texture, but also similarMa,nus Lindbew. 1997 (vphoto: Maarit Kvtihariu)
contrast with the outer parts where poly-
rhythmic activity predominates. Secondly, the
new material presents an expansive preparation
for the climax, which in the earlier piece is
abruptly introduced. Finally, these chords
explore harmonic implications of the fleeting
reference in the first section to Purcell's Funeral
Music for Queen Mary.
Additional new material (starting at bar 225)
expands on ideas from the beginning of the third
section (bar 219). This extension offers yet
another textural contrast through its open,
dynamic instrumental dialogue, which had been
less prominent in the dense layering of poly-
rhythmic patterns in the first part. Thus the
expansion of the last two sections reflects a
growing neo-classical preoccupation with formal
balances and textural contrast - concerns to be
further explored in Coyote Blues (1993) and Aura
(1993-94).
Aura, written as a memorial to Lutoslawski,

2 From the composer's programme notes for the world

premiere of Corrente II, kindly provided by Chester Music.

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4 Magnus Lindberg's Recent Orchestral Music

movement, and then evolves more dynamically concept of complexity, which extends beyond
into a coherent narrative argument in the second mere density of incident to embrace what he
movement.3 In Aura these processes are most describes as a complexity of expression.4 Aura
clearly articulated in the third and fourth move- marks a deepening of his expressive powers, and
ments. The meandering, machine-like ostinatos presents a fascinating juxtaposition of conflicting
of the former are integrated, along with other sensibilities: a spiritual world exhibiting a highly
material from preceding movements, into a more refined poetic impulse, which coexists with the
dynamic narrative flow of events in the latter, more rough-edged environment of mechanical
with a firmer sense of direction to harmonic ostinatos. Occasionally there is a seamless passage
goals and climaxes. between the two realms, as in the transition
Aura also reflects an influence of the late between the third and fourth movements, where
composer's approach to content and form. The
a 'machine' ostinato in the strings is suddenly
second movement in particular displays a transformed into graceful, minimalist piano
Lutoslawskian imprint: each of the contrasting figuration for a beautiful dance-like string idea.
block-like sections emphasizes a different musicalIn contrast to the expansiveness of Aura,
parameter (harmony, melody, or rhythm) while Lindberg's next orchestral work, Arena (1995) -
simultaneously featuring the timbre of a partic-
followed by a version for chamber orchestra - is
ular instrumental family or groups. Accordingly, a tightly knit, concentrated showpiece and, along
the brass are assigned initially consonant choralewith Coyote Blues, his most accessible work to
material which is elaborated into harsh chordal date. This is due to the prominence of clearly
constructions in two sections. These frame a defined melodic and rhythmic cells which are
contrasting more lyrical string passage which subjected to traditional developmental processes.
emphasizes linear ideas and rhythm. After Lindberg's
the use of these units to generate much
brass chorale returns, a more rhythmically of the work's material represents a new facet
oriented section features piano and percussion of his interest in the linear parameter and is
in an intricate dialogue and leads to an etherealrelated to Sibelius's highly organic develop-
passage highlighting celesta and high register mental techniques.
woodwinds and strings. Arena's opening three pitch cell grows into
In its treatment of harmony, Aura maintainsincreasingly elaborate units with each presentation
links with the orchestral trilogy (Kinetics, Marea,(Ex.1).

Ex.1 Arena, bars 4-9, quaver=144

oboe I

<, r r Ir E tj r r - I
-M Rf~~~~~~~~~~~~~~c_...

tt r _ r f I r - r 1 " ' s J J. 1
a 3 3 2

Repr

Joy) This process, which includes repetition ofb the

simple and complex chord formations. For C-E; interval and use of lower neighbour tones,
example, the thick, dissonant harmonies in the involves expansion of the intervallic boundaries
brass chorale are occasionally resolved into rela- of the unit. Each statement presents a lower
tively consonant tertian constructions. At other boundary at least a half step lower than the one
times, the process is reversed, with the latter that preceded it, thus resulting in an extended
leading into more complex chords. melodic line with a gradual descent from B to A,
The issues of harmonic, rhythmic, and text- G#, and E (bars 4-9). The first elaboration of
ural complexity were of initial concern to the unit (bar 6) presents a tremolo-like figure on
Lindberg as he confronted the ramifications ofC-E; which is expanded to a perfect fifth
his attraction to an intricate musical language interval (bar 11) and developed as an auxiliary
during the 1980s. In recent years, he has beenrhythmic cell periodically during the piece.
increasingly concerned with a more dynamic These melodic and rhythmic cells become

3 From the composer's programme notes for a performance of 4 See Martin Anderson's article on Magnus Lindberg, 'The
Aura, kindly provided by Chester Music. large spans', Nordic Sounds, no.2, 1998, p.9-13.

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 Magnus Lindberg's Recent Orchestral Music 5

pervasive features within the score's rich melodic ideas, most notably in the trumpet and
textures; they are seamlessly introduced within bassoon solos. The individual instrumental lines
longer melodic lines (such as the cello solo in are also more rhythmically complex than in
the middle of the piece) and serve to generate immediately preceding works, reflecting another
more extensive linear ideas in an organic manner. characteristic of Lindberg's early style.
The more extended melodic line from the Although the next orchestral work, Feria
(1995-97) partially consists of material originally
opening is subjected to increasingly elaborate
variations in the next two statements, first in considered
the for inclusion in Engine, it is markedly
different in character.5 Reflecting the spirit of its
flutes and oboes (beginning in bar 10), and then
in a muted trumpet and oboes (beginning in title,
bar the work captures the atmosphere of a
24). Even as the first variation is presented, Spanish
the festival, while exploring deeper expressive
subsidiary third oboe and violas (in bar 10)currents in its middle and final sections. Fer'a
expand the interval of the tremolo figure fromdisplays
a a rich variety of motivic materials,
minor third (EV-C) to a perfect fifth (B towhichE). are presented at a fast-clipped pace in the
The latter tremolo is immediately introduced opening pages: the brass fanfares of the opening
into the evolving line of the first variation (Ex.2);
and a fragmented idea in a transitional passage
simultaneously integrated into the general (bars 26-29); a contrasting, more lyrical subject
rhythmic texture. Following the second variation, for oboe (bars 34-37, Ex.3), and an idea consisting
the units and rhythmic figures are intensively of interlocking chains of perfect fifths (bars
developed and extended within busy poly- 38-44, Ex.4). These contrasting motives are
rhythmic textures. The use of tremolo figures continuously evolving even as they appear in
reaches a critical juncture (bar 97) at which they rapidly shifting juxtapositions in the initial
converge and accelerate to fortissimo levels. sections; an organic discourse is thus created in
(This process has parallels in a section of Joy, a formal context resembling a montage.
where tremolos accelerate to such an extent that The three opening brass fanfare statements
a motionless surface seems to occur.) present increasing elaboration of component
Due to the organic evolution of its musical units through repetition and expansion. The
discourse, the form of Arena is perceived as afirst statement can be divided into two units
series of short, related episodes, in contrast to (Ex.2), the first featuring descending chromatic
Aura, whose larger scale features sections of moremovement and a tremolo-like figure from G to
differentiated material, texture, and tempo. TheE, and the second displaying a three-pitch cell of
most conspicuous variety in Arena occurs at keya tritone and perfect fifth, which is immediately
formal points in the middle and at the end, sequenced. The four motives and their units
where gradual reduction of rhythmic activityserve as the basis for evolution of much of the
prepares the introduction of extended melodicwork's subsequent material.
lines. Parallel to the organic evolution of the Ferfa and Arena are companion pieces in their
opening idea, the strings' line in the final section use of similar developmental techniques: 1)
features an initially small unit which undergoesextension of opening statements through repeti-
permutation and increasing elaboration in threetion, variation, and expansion of component
successive presentations. cells; 2) detachment of cells from their original
Following the more accessible tendencies dis- context for independent development; and 3)
played in various aforementioned works, theincorporation of these cells into new, more
complex, rough-edged surfaces of Engine (1996),extensive statements introduced later in the
for chamber orchestra, constitute a surprising piece. Moreover, the greater diversity of opening
return to the composer's primitivist aesthetic of material in Fen'a facilitates the introduction of
the 1980s, and a reaction against the recent neo-additional processes related to a synthesis of
classical simplification of style. Reflecting otherdifferent motives: new juxtapositions of
critical junctures in Lindberg's development, originally independent material which reveal
Engine also follows a new pathway while inter-linked relationships; and fusion of charac-
maintaining links to ongoing compositional teristics of earlier motives to create new hybrid
concerns. This process involves the introduction ideas. An example of juxtaposition of figures is
of counterpoint, which marks a departure from demonstrated in a passage where interlocking
the predominantly homophonic textures of his chains of perfect fifth tremolos (motive 4) are
previous output, while simultaneously affirming
a line of continuity with recent linear pre- 5 Feria, Arena, and Corrente II have been recently issued on an
occupations. Lindberg's interest in counterpointOndine CD, (ODE 911-2), with the Finnish Radio Symphony,
may explain the prominence of more extended conducted by Jukka-Pekka Saraste.

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6 Magnus Lindberg's Recent Orchestral Music

Ex.2 Feria, Motive 1, bars 1-7, quaver=144

Io-
Lti., : I
ft~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1A 1P Sr^E^LUS^' ^' I1 frjJe^,

Ex.3 Feria, Motive 3, bars 34-38, quaver=144

l. /!. ',I f f r ir ' -

V>oA Q t
OAt,'

Ex.4 Feria, juxtaposition of Motive 4 with Unit 2 of Motive 1,

bars 38-44, quaver=144

Ex.5 Feria, juxtapositions of permutations of Unit 2 of Moti

and of Motives 3 and 4, bars 284-289, crotchet=64

?tri,,b ~,A. t,;ve 3

! I Mottlve +
(senza sord.)

4'* - ,4 f^slp , ^^-rrrrT~r p 4:.],

senza sord.) -
- ~ ~ # I ~~d

, A.,fJ J g j^ R r Np ;$ f
PsffI I II
fPt . vu-t ; tt b
Ma'tivt 3 u'?At I b Mtt-twt I

dovetailed with natural setting

sequences offor introducing
unit 2 of quotations
motiv or
1 (bars 36-43, Ex.4). This juxtaposition recollections from earlier historical periods, a
characteristic found in various pieces since the
emphasizes the intervallic commonality (of
fifths) between the two figures. early de Tartuffe, je crois (1981). The aforemen-
Lindberg integrates his materials in an tioned development section eventually presents
increasingly sophisticated manner, especiallyascending
as and descending scalar figures which,
he generates new hybrid ideas within intensive
along with a gradually conforming harmonic
development sections. An example is found environment,
in a prepares the introduction of
subsection (measure 91) where violas present harmonic
an progressions from Monteverdi's
madrigal Lasciatemi morire, and tonal scalar
extended idea generated in part from character-
movement in the brass. Following sudden
istics of the two motivic figures involving fifths.
Moreover, minor third tremolos and permuta- reduction of the density of texture a bass clarinet,
tions of cell 2 of motive 1 within the rich texture introducing a perfect fifth tremolo (from motive
reflect the subtle integration of materials. 4), imparts closure to the previous subsection
Additional fusion techniques are employed to
and simultaneously introduces an intensive
development of earlier materials in a spare
create a 'composite' idea, which retains aspects
of the melodic contour of motive 3 while chamber music setting. After a piano cadenza,
adopting rhythmic characteristics of motive 1
cellos introduce references to three motives

(bars 128-129). A more intensive development

(bars 284-289, Ex.5) which lead into the final
section. As the orchestral texture expands, a
is presented in a rapid succession of permutations
of motives 1, 3, and 4 (bars 130-155).fleeting recollection of the Monteverdi madrigal
is seamlessly
Lindberg's use of organic processes in estab- fused with an extended 'grand'
statement.a This idea provides a parallel to the
lishing interlinked relationships also provides

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 Magnus Lindberg's Recent Orchestral Music 7

final section of Arena, but unlike the previous Following sudden interruption of a rich string
work, a variant of the opening motive is briefly sonority by a harsh brass chorale, strings and
introduced before the climax. winds proliferate with 'soft' style, omamented
Fresco (1997-98) is, like Aura, another 'resume' gestures that represent an organic outgrowth of
piece. It demonstrates Lindberg's continuing the earlier tremolo figures. This activity is inter-
interest in the linear component while also rupted in turn by a variant of the brass chorale
incorporating signature characteristics of earlier and followed by additional filigree material. The
phases (use of spectral harmony, chaconne prin-stark juxtapositions of these disparate gestures
ciples, and scalar and ostinato figures). and textures evoke the spiritual and mechanistic
Moreover, in a manner similar to Aura, it also
realms of expression found in Aura.
re-establishes muted links to Lindberg's primi-A rich orchestral sonority then introduces a
tivist phase of the 1980s, which is perhaps most
passage of massive spectral harmonies and fused
strikingly revisited in Engine. ensemble timbres, involving nearly the entire
In the programme notes for Fresco he has orchestra and range of registers (bars 229-243).
described how some of the 'great Medieval The
and elusiveness of sonorities is further empha-
Renaissance frescoes have impressed him with their
sized by the increasingly volatile, wave-like
synthesis of physical drama and harmonious motions of the dynamic levels within each
balance'.6 The fresco concept is allied to the instrumental part, similar to the opening of Marea.
composer's ongoing neo-classical preoccupation A key structural point occurs in this passage as
with integrating a dramatic narrative of con- maximum density of texture and registral
trasting elements into a well-balanced form. This expansion are achieved. The rapid shifting and
is evident in the overall formal plan of Fresco, overlapping of piano and forte dynamic levels in
where much of the drama is derived from the all instrumental parts encapsulates on a micro-
opposition of what Lindberg describes as 'loud' level the increasingly fluid alternation between
and 'soft' styles (the original context referring the 'soft' and 'loud' styles which is occurring on
to two types of gamelan ensembles). However, a larger structural scale. After a climax (bar 243),
in the new piece, the concept also includes a sudden contraction of register reduces the texture
differences in emphasis on the linear and vertical to the point where only the string section is
components, in the range of orchestral registers present. The string writing is also initially sub-
utilized, and the degree of harmonic definition jected to internal contraction in its presentation
achieved within vertical events. of ascending and descending tone clusters
The 'soft' style is introduced in the openinginvolving all pitches within vertical spaces of
measures of Fresco with three disparate gesturesminor thirds. This sudden reduction recalls
articulated in a clear texture. A legato bassoonsimilar processes employed in Kraft and Ur, as
melody is presented in conjunction with well as the composer's early predilection for
increasingly animated scalar rhythmic figures inextremism. A return to the 'soft' style occurs
various instruments, and a disjunct pizzicato with an almost disarmingly lighter melody in the
triplet figure in the violins (bar 12). These strings (bar 247), which, with masterful finesse,
gestures recur in various permutations and in dissipates the tension of the preceding section.
changing harmonic and rhythmic contexts. The relationship between rhythm and harmony
However, despite the prominence of the bassoon is strengthened in later sections through the
solo in the opening pages, the melodic component interplay of ostinato rhythmic patterns and
is not generally accorded the degree of emphasis arpeggiated figures with harmonic implications.
it received in Arena or Ferfa. The shift in FrescoThis is a reflexion again of the fresco concept
is to a dynamic interplay of other parameters:and reminiscent of processes employed in
harmony, rhythm, texture, and register. Corrente I and II. In the final section, a typical
The 'loud' style is introduced with a consider-
acceleration of activity occurs before a massive
able expansion of orchestral registers (bar 90). sonority is constructed in the coda. The composer
Although Lindberg initially uses a pause to signal
builds a pyramid-like accumulation of sustained
a shift from one style to the other, there is more
pitches whose final manifestation (the second
fluid continuity between them as the piecechord in bar 485) possesses all pitch classes
progresses from the central slow section to the except one. Through a typical Lindberg process
conclusion. This section is introduced by 'soft'of reduction, the texture suddenly thins out, as
style tremolo figures in the strings (bar 159).
all the instruments gradually converge on the
missing pitch class D. The latter had been present
From David Allenby's programme notes to the world pre-in the moments prior to the final vertical sonority,
miere performance, kindly provided by Boosey & Hawkes. and through its contextual prominence, almost

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8 Magnus Lindberg's Recent Orchestral Music

achieves the force of a tonal centre. uncompromising modernism even as he contin-

Lindberg's stylistic development, like that ofues to reinvent neo-classical concepts of form
many significant composers, has not traced aand content. During the 1990s, he has pursued
predictable path. He has sometimes confounded new challenges while maintaining connexions to
expectations. However, this survey reveals some his earlier compositional pre-occupations. This
common threads in the recent output, includingdualism is the source of renewal and continuity
neo-classical concerns with the formal balance in Lindberg's output. It serves as the foundation
of contrasting elements and, in some pieces, the for the development of a highly personal musical
use of more traditional motivic material and language which, in its brilliant consolidation of
developmental processes. Moreover, a deeper a broad variety of resources, will undoubtedly
wellspring of stylistic resources and techniques,have a strong impact on the next generation of
including aspects of minimalism and counter- composers.
point, invigorates his musical language. There is
also a stylistic synthesis, most notably in Aura Music Examples 2-5 ? Copyright 1997 by Boosey &
and Fresco. In this process of integration,Hawkes the Music Publishers Ltd.
composer comes to terms with the earlier

Boosey & Hawkes Music Publishers Limited

Magnus Lindberg
New Works Orchestral Scores

Cantigas (1998-99) 20' Feria (1997) 17'

for orchestra Study score: M-060-10796-2
FP: 1 April 1999 Cleveland
Cleveland Orchestra/ Fresco (1997) 22'

Christoph von Dohnanyi Score in preparation

Campana in Aria (1998) 11'

Cello Concerto (1999) 30'
Score in preparation
FP: 6 May 1999 La Villette, Paris
Anssi Karttunen/Orchestre de Paris/
Esa-Pekka Salonen
New Recording
Feria (1997)
"The fact is that Lindberg counts just now
Finnish Radio Symphony Orchestra/
as the most exciting composer of his Jukka-Pekka Saraste
generation." Financial Times CD: Ondine ODE911-2

BOOSEY HAWKES

295 Regent Street, London W1R 8JH Tel: 0171-580 2060 Web
---~~~~~~~~~~~ I

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