685:
228:
also praised the work, observing, "Its circus aspects at all times served the musical logic. The initial sonic cataclysm splinters into tiny, often barely audible fragments that
Lindberg then reassembles. A bridging episode for flutes and percussion radiates stillness before Lindberg fashions a final
214:
begins with spasms of thick chords that slowly disintegrate, until only scraggly lines for cello and clarinet are audible. The piece evolves in blocks of sound and constantly changing episodes. At one point there is a kind of fractured chorale, full of brassy slides and swelling strings. At another,
76:
allowing a very flexible control of rhythm and chord processes. The programme is based on a formalization of rules for creation of rhythmic events, gestures and temporal processes, and an environment allowing a graphical output for metric notation. Similar rule-based programmes control the creation
257:
gave the work only lukewarm marks, saying, "...despite the bravura of the confrontations it contrives between the orchestra (with electronics in attendance) and a team of clarinet, cello, piano and percussion soloists, the effect remains unashamedly earth-bound: sometimes dense to the point of
235:
similarly opined, "Magnus
Lindberg is a composer who likes extremes. Whenever his music visits the middle range of gesture and dynamic, you can be pretty sure that it’s only a stage on some compelling journey to the outer regions, either of high, whispering delicacy, or of growling, brass- and
215:
the music erupts in slashing bursts that dissolve into gentle gong tones coming from all around the hall, almost like pagoda music." He added, "Though Mr. Lindberg devised the rhythmic relationships in
258:
congestion, other times highly fragmented, but not quite coming into focus in the way the more regular rhythmic patterns and rooted harmonic processes of the later works make possible."
177:, a sound controller, and the conductor; these soloists must from time to time leave the stage to play an assortment of junkyard percussion instruments or perform various other
722:
219:
through mathematical formulas, I could believe that he had written the piece intuitively, since it comes across as spontaneous and keeps you wondering what will happen next."
81:
He added, "The control of amplification and spatialization of the soloists during the performance is done with an application written in PreFORM and running on a
717:
240:." The music critic Andrew Clements remarked, "With explosive gestures, vivid sonorities and a huge battery of percussion arrayed around the auditorium,
475:
712:
688:
244:
still packs a powerful punch, though now it appears more generalised and less discriminating in its harmonic organisation than later
Lindberg."
341:"A Glass half empty: Philip Glass's latest works lack a human presence while Magnus Lindberg sends in the clowns, says Nick Kimberley"
68:. It was composed between 1983 and 1985. Lindberg described the electronic elements of the piece in the score program notes, writing:
46:
516:
540:
522:
38:
546:
534:
528:
504:
498:
468:
510:
73:
707:
636:
50:
77:
of harmonic material by a comparison to previously defined and accepted chordal successions given by the composer.
400:
461:
210:
bustles with heady, impish music, it is a brilliant, serious-minded contemporary work." Tommasini continued, "
580:
340:
620:
572:
72:
All the musical material of the piece has been prepared with a micro-computer, with programmes written in
436:
253:
94:
432:"Lindberg Piano Concerto: Early works from the Finnish composer are definitely signposts to the future"
612:
350:
596:
170:
377:
317:
231:
202:
178:
604:
588:
308:
197:
42:
30:
431:
401:"Lindberg: Piano Concerto; Kraft: Lindberg/ Toimii Ensemble/ Finnish Radio Symphony/ Salonen"
312:
662:
287:
65:
236:
gong-coloured tumult. His idiom is revealed at its most persuasive in his orchestral piece
484:
427:
279:
248:
118:
26:
283:
93:
The work is scored for an ensemble of soloists and a large orchestra consisting of four
166:
126:
701:
193:
134:
122:
644:
405:
372:
345:
224:
169:. The soloists comprise a clarinet (doubling E-flat clarinet, bass clarinet, and
667:
138:
110:
154:
102:
82:
22:
85:
computer allowing a precise control of movement in the hall in real time."
64:
has a duration of approximately 25 minutes and is composed in two numbered
628:
146:
114:
162:
142:
130:
98:
672:
34:
206:
called it "a sound barrage for large orchestra" and wrote, "Though
453:
174:
158:
150:
106:
457:
192:
has been highly praised by music critics. Reviewing the
313:"A Night for a Rhapsodic Violin And an Old Brake Drum"
21:
is a composition for solo ensemble, electronics, and
33:
and was first performed on
September 4, 1985 by the
655:
556:
491:
70:
469:
8:
723:Music commissioned by the Helsinki Festival
476:
462:
454:
274:
272:
270:
266:
229:cathartic explosion." Ivan Hewett of
7:
718:Compositions for symphony orchestra
339:Kimberley, Nick (8 December 2001).
29:. The work was commissioned by the
47:International Rostrum of Composers
14:
373:"Lindberg: Piano Concerto; Kraft"
684:
683:
399:Clements, Andrew (20 May 2004).
371:Hewett, Ivan (20 January 2012).
39:Finnish Radio Symphony Orchestra
713:Compositions by Magnus Lindberg
173:), two percussionists, piano,
1:
45:. The piece was awarded the
153:, four percussionists, two
739:
51:Nordic Council Music Prize
681:
25:by the Finnish composer
41:under the direction of
517:Concerto for Orchestra
79:
541:Violin Concerto No. 2
523:Violin Concerto No. 1
547:Piano Concerto No. 3
535:Cello Concerto No. 2
529:Piano Concerto No. 2
505:Cello Concerto No. 1
499:Piano Concerto No. 1
351:Guardian Media Group
49:in 1986 and won the
311:(October 8, 2010).
179:extended techniques
171:contrabass clarinet
378:BBC Music Magazine
318:The New York Times
309:Tommasini, Anthony
232:BBC Music Magazine
222:Nick Kimberley of
203:The New York Times
708:1985 compositions
695:
694:
511:Clarinet Concerto
198:Anthony Tommasini
43:Esa-Pekka Salonen
37:ensemble and the
31:Helsinki Festival
730:
687:
686:
663:Music of Finland
557:Other orchestral
478:
471:
464:
455:
449:
448:
446:
444:
430:(January 2005).
428:Whittall, Arnold
424:
418:
417:
415:
413:
396:
390:
389:
387:
385:
368:
362:
361:
359:
357:
336:
330:
329:
327:
325:
305:
299:
298:
296:
294:
288:G. Schirmer Inc.
280:Lindberg, Magnus
276:
738:
737:
733:
732:
731:
729:
728:
727:
698:
697:
696:
691:
677:
651:
552:
487:
485:Magnus Lindberg
482:
452:
442:
440:
426:
425:
421:
411:
409:
398:
397:
393:
383:
381:
370:
369:
365:
355:
353:
338:
337:
333:
323:
321:
307:
306:
302:
292:
290:
278:
277:
268:
264:
249:Arnold Whittall
187:
119:E-flat clarinet
91:
89:Instrumentation
59:
27:Magnus Lindberg
12:
11:
5:
736:
734:
726:
725:
720:
715:
710:
700:
699:
693:
692:
682:
679:
678:
676:
675:
670:
665:
659:
657:
653:
652:
650:
649:
641:
633:
625:
617:
609:
601:
593:
585:
577:
569:
560:
558:
554:
553:
551:
550:
544:
538:
532:
526:
520:
514:
508:
502:
495:
493:
489:
488:
483:
481:
480:
473:
466:
458:
451:
450:
419:
391:
363:
331:
300:
265:
263:
260:
186:
183:
127:alto saxophone
97:(4th doubling
90:
87:
58:
55:
13:
10:
9:
6:
4:
3:
2:
735:
724:
721:
719:
716:
714:
711:
709:
706:
705:
703:
690:
680:
674:
671:
669:
666:
664:
661:
660:
658:
654:
647:
646:
642:
639:
638:
634:
631:
630:
626:
623:
622:
618:
615:
614:
610:
607:
606:
602:
599:
598:
594:
591:
590:
586:
583:
582:
578:
575:
574:
570:
567:
566:
562:
561:
559:
555:
548:
545:
542:
539:
536:
533:
530:
527:
524:
521:
518:
515:
512:
509:
506:
503:
500:
497:
496:
494:
490:
486:
479:
474:
472:
467:
465:
460:
459:
456:
439:
438:
433:
429:
423:
420:
408:
407:
402:
395:
392:
380:
379:
374:
367:
364:
352:
348:
347:
342:
335:
332:
320:
319:
314:
310:
304:
301:
289:
285:
281:
275:
273:
271:
267:
261:
259:
256:
255:
250:
245:
243:
239:
234:
233:
227:
226:
220:
218:
213:
209:
205:
204:
199:
195:
194:New York City
191:
184:
182:
180:
176:
172:
168:
164:
160:
156:
152:
148:
144:
140:
136:
135:contrabassoon
132:
128:
124:
123:bass clarinet
120:
116:
112:
108:
104:
100:
96:
88:
86:
84:
78:
75:
69:
67:
63:
56:
54:
52:
48:
44:
40:
36:
32:
28:
24:
20:
19:
645:Two Episodes
643:
635:
627:
619:
611:
603:
595:
587:
579:
571:
564:
563:
441:. Retrieved
435:
422:
410:. Retrieved
406:The Guardian
404:
394:
382:. Retrieved
376:
366:
354:. Retrieved
346:The Observer
344:
334:
322:. Retrieved
316:
303:
252:
246:
241:
237:
230:
225:The Observer
223:
221:
216:
211:
207:
201:
189:
188:
92:
80:
71:
61:
60:
17:
16:
15:
668:Korvat auki
111:cor anglais
57:Composition
702:Categories
437:Gramophone
291:Retrieved
262:References
254:Gramophone
196:premiere,
161:(doubling
117:(doubling
103:alto flute
613:Sculpture
247:However,
185:Reception
147:trombones
115:clarinets
83:Macintosh
66:movements
53:in 1988.
23:orchestra
689:Category
637:Souvenir
629:Al largo
597:Cantigas
492:Concerto
282:(1985).
143:trumpets
131:bassoons
129:, three
113:, three
105:, three
656:Related
443:June 1,
412:June 1,
384:June 1,
356:June 1,
324:June 1,
293:June 1,
284:"Kraft"
167:strings
165:), and
163:celesta
145:, four
141:, four
137:, four
99:piccolo
673:Toimii
648:(2016)
640:(2010)
632:(2010)
624:(2009)
616:(2005)
608:(2001)
605:Parada
600:(1999)
592:(1997)
589:Fresco
584:(1997)
576:(1994)
568:(1985)
549:(2022)
543:(2015)
537:(2013)
531:(2012)
525:(2006)
519:(2003)
513:(2002)
507:(1999)
501:(1994)
95:flutes
35:Toimii
581:Feria
565:Kraft
242:Kraft
238:Kraft
217:Kraft
212:Kraft
208:Kraft
190:Kraft
175:cello
159:piano
155:harps
139:horns
107:oboes
74:FORTH
62:Kraft
18:Kraft
621:EXPO
573:Aura
445:2016
414:2016
386:2016
358:2016
326:2016
295:2016
151:tuba
251:of
200:of
121:),
101:),
704::
434:.
403:.
375:.
349:.
343:.
315:.
286:.
269:^
181:.
157:,
149:,
133:,
125:,
109:,
477:e
470:t
463:v
447:.
416:.
388:.
360:.
328:.
297:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.