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Magnus Lindberg: Twine

Magnus Lindberg: Twine

This work shows the composer's need to move in another musical direction away from the Urban Jungle style he had sought in previous works such as Kraft and UR. The piece is based upon the composer's interest in the musical confrontation between serial and spectral thinking as if it is the conflict between different views of organisation that create interesting and unforseen constellations of musical material.Twine took over a year and a half to complete, a fairly long time for a piece which is only 7 minutes long. Although wonderful in its own right, Lindberg now considers it a study for his orchestral piece Kinetics which was written between 1988-89. Arranged for Solo Piano.

SEK 340.00
1

Magnus Lindberg: Marea (Score)

Magnus Lindberg: Marea (Score)

The harmonic model for this piece is based on a subdivision of pitches in primary and secondary notes, in principle any chord can be viewed from it's structural qualities including interval content and symmetry, but it might also be conceived from a more acoustical point of view.The parallel basis for this work is a sequence of 12-tone chords repeated as a chaconne, every chord has it's Alter-Ego, an overtone series the fundamentals of which together form a bass line. By articulating the cycle differently, with always varied diagonal paths between two layers Lindberg has aimed to give the music some direction despite it's vague repetitive structure.Work for Orchestra premiered at the Queen Elizabeth Hall, London, by the London Sinfonietta under the direction of Esa-Pekka Salonen, April 1990.

SEK 981.00
1

Magnus Lindberg: Kinetics (Score)

Magnus Lindberg: Kinetics (Score)

This work was written with a mix between computer technology and the more traditional orchestra, the piece was composed in such a way that it would support it's own acoustics. Lindberg worked with amplification of instruments and electronically transformed sounds thus producing greater possibilities to abandon acoustic limits. In order for the piece to be supported by it's own acoustics, the piece had to be written in terms of foreground and background harmony, every foreground chord would always have it's background, a shadow existing without it's main chord.Another theme to the piece is that of textural motion as rapid gestures and motions are a big part of the composer's interest. Static repitions seemed to limit the piece however so they were compensated for on another level, so with a repetitive rhythmic pattern, the harmonic material changes rapidly or when a chain of chords is static the rhythmic and timbral qualities vary frequently. Work for Orchestra commissioned by the Finnish Broadcasting Company.

SEK 981.00
1