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Magnus Lindberg

By age forty, Magnus Lindberg was among the busiest concert composers in the world. His music avails itself of most manner of contemporary innovations, but there’s a Neo-Classical orientation in his harmonies and formal style which makes his functions appealing to a broad audience. Delivered in Helsinki, Lindberg examined piano and structure on the Sibelius Academy. His structure teacher was Paavo Heininen, who prompted his curiosity about progressive advancements. With fellow learners Esa-Pekka Salonen and Kaija Saariaho, amongst others, this precocious youthful musician helped discovered two agencies, both which possess proven highly important for the remarkable crop of top-rank Finnish music artists who have eliminated on to obtain globe renown. Korvat Auki (“Ears Open up”) provided a gathering place for all those thinking about current tendencies in modern music, arranging concerts, workshops, etc. Toimii (“It Functions!”) was a executing ensemble focused on improvisation as well as the exploration of new noises-“a lab for composers and instrumentalists to interact on new method of music expression.” Within this fertile environment of the first 1980s, Lindberg created his first essential functions, including Action-Situation-Signification (1982) for Toimii and consumer electronics, Tendenza (1982) for 21 music artists, and, most significant, Kraft (1985) for Toimii and orchestra. This last piece, which received various honours and continues to be broadly performed, was his 1st piece to attract main international interest. These early items are crazy: densely obtained, loud, teeming with frequently violent energy. They tag, in a way, Lindberg’s passing toward musical maturity. Between 1986 and 1988, the youthful composer created no music, however when he started again, his design was strikingly different. In 1981 Lindberg began monitoring with Vinko Globokar in Paris, a composer known for his sonic explorations, especially through prolonged instrumental techniques. A couple of years later on, he spent an interval learning with Gérard Grisey, also in Paris, among the main proponents from the so-called “spectral college” of structure. By that is meant a problem for the acoustic properties of audio, to the degree of deriving harmonies from analyses of instrumental timbres. The hyperlink between your two influences may be the concentrate on sonority. Up to 1986, Lindberg experienced concentrated within the noisier, even more extended end of the world. From 1988, he provides chosen to function even more with tranquility and even more traditional orchestral shades. His first main functions in his brand-new style produced a trilogy: Kinetics (1989) for orchestra, Marea (1990) for ensemble, and Pleasure (1990) for chamber orchestra. These parts are filled with all types of elaborate figuration and textures, but root all of them are triadic, resonant harmonies. Lindberg is rolling out what he phone calls a “chaconne” way of arranging his harmonies, the theory being a cyclical development of chords holds through the piece, occasionally submerged, occasionally in the forefront. He in addition has developed a solid feeling of narrative type, with a problem for dramatic advancement and comparison that owes very much another coach, Witold Lutoslawski, as well as perhaps also to Finnish compatriot, Jean Sibelius. Lindberg has truly gone to a apparently endless group of commissions for most from the main ensembles and orchestras from the globe. Aura (1994), for orchestra, is certainly his most ambitious rating, long lasting some forty a few minutes. Others are the Piano Concerto No. 1 (1991/1994), Feria (1997) for the BBC, Fresco (1998) for the LA Philharmonic, as well as the Cello Concerto (1999), for classmate Anssi Karttunen as well as the Orchestre de Paris. Among his various other concertos are functions for horn (Campana in Aria, 1998), clarinet (2002), violin (2006) and a Concerto for Orchestra (2002-2003). Various other main functions include Seht expire Sonne (2007) created for the Berliner Philharmoniker as well as the SAN FRANCISCO BAY AREA Symphony, and GRAFFITI (2009), his first function for chorus and orchestra. While Lindberg comes with an apparent affinity for the symphony orchestra, he offers composed several chamber functions, including his Clarinet Quintet (1992), Related Stones for just two pianos and two percussionists with consumer electronics(1997), Ottoni for brass ensemble (2005), and Trio for clarinet, cello and piano (2008). Lindberg was appointed composer-in-residence with the brand new York Philharmonic, beginning within their 2009-2010 time of year. The orchestra opened up its 2009 time of year along with his EXPO, the 1st globe premiere at an starting concert since 1964.

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