Magnus Lindberg Duello 2010 2 Min for Solo Cello

Total Page：16

File Type：pdf, Size：1020Kb

Magnus Lindberg Duello 2010 2 min for solo cello World Premiere: 10 May 2011 Baryshnikov Arts Center, New York, NY, United States Anssi Karttunen, cello; Availability: This work is available from Boosey & Hawkes for the world Fanfar för Victoria Magnus Lindberg photo © Philip Gatward Fanfare for Victoria 2015 1 min INSTRUMENTAL Solo trumpet (in C, B flat, or D, or piccolo trumpet) Availability: This work is available from Boosey & Hawkes for the world Accordion Jubilees Mano a mano Magnus Lindberg, arranged by Janne Valkeajoki 2000, arr.2017 15 min 2004 15 min for solo accordion for solo guitar 9790060119804 Guitar 9790060136726 Accordion World Premiere: 16 Aug 2004 Availability: This work is available from Boosey & Hawkes for the world Turku Academy Hall, Turku, Finland Timo Korhonen, guitar; Acequia Madre Availability: This work is available from Boosey & Hawkes for the world 2012 10 min Partia for clarinet and piano 9790060128394 Piano Score 2001 25 min for solo cello World Premiere: 26 Jul 2012 9790060113772 Cello St. Francis Auditorium, Santa Fe, NM, United States 9790060116780 Cello Chen Halevi, clarinet / Magnus Lindberg; Availability: This work is available from Boosey & Hawkes for the world World Premiere: 07 Mar 2002 Finlandia Hall, Helsinki, Finland Acequia Madre Anssi Karttunen, cello; 2012 10 min Santa Fe Project arranged for viola and piano 9790060133077 Viola, Piano 2006 15 min for cello and piano World Premiere: 07 Dec 2012 Cultural Forum, Algiers, Algeria World Premiere: 30 Jul 2006 Steven Dann, viola / Magnus Lindberg, piano; Zebra Trio St. Francis, Santa Fe, NM, United States Availability: This work is available from Boosey & Hawkes for the world Magnus Lindberg, piano / Anssi Karttunen, cello; Availability: This work is available from Boosey & Hawkes for the world INSTRUMENTAL 1 INSTRUMENTAL 1.

Copy Link

Recommended publications

Pizzazz on the Podium
Montage Art, books, diverse creations 14 Open Book 15 Bishop Redux 16 Kosher Delights 17 And the War Came 18 Off the Shelf 19 Chapter and Verse 20 Volleys in F# Major places this orchestra square- ly at the center of cultural and intellectual discourse.” The Philharmonic sounds better than it has in decades, too, because Gilbert has im- proved morale, changed the seating plan, and worked on details of tone and balance— even the much-reviled acoustics of Avery Fisher Hall at Lincoln Center sound Alan Gilbert less jagged now. The conducting conductor is also pre- CHRIS LEE the New York Pizzazz on the Podium Philharmonic pared to be surprised: at Avery Fisher to him, his job is both Alan Gilbert’s music that should be heard Hall in Lincoln to lead and take in Center what the musicians by richard dyer are offering. The unexpected hit of his first season ike his celebrated predecessor as diverse as György Ligeti and Wynton was Ligeti’s avant-garde opera, Le Grand Leonard Bernstein ’39, D.Mus. Marsalis, named a composer-in-residence Macabre, in a staging by visual artist Doug ’67, Alan Gilbert ’89 seems to en- (Magnus Lindberg), and started speaking Fitch ’81, a friend who had tutored art in joy whipping up a whirlwind and informally to the audience, as Bernstein Adams House when Gilbert was in col- then taking it for an exhilarating sometimes did. His programs are full of lege. To publicize the opera, Gilbert ap- L ride. Though only in his second year on interconnections and his seasons add peared in three homespun videos that the the job, the second Harvard-educated mu- up; Gilbert has said that every piece tells Philharmonic posted on YouTube; Death, sic director of the New York Philharmonic a story, and every program should, too.
[Show full text]
Magnus Lindberg 1
21ST CENTURY MUSIC FEBRUARY 2010 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. ISSN 1534-3219. Subscription rates in the U.S. are $96.00 per year; subscribers elsewhere should add $48.00 for postage. Single copies of the current volume and back issues are $12.00. Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. email: [email protected]. Typeset in Times New Roman. Copyright 2010 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Copy should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors are encouraged to submit via e-mail. Prospective contributors should consult The Chicago Manual of Style, 15th ed. (Chicago: University of Chicago Press, 2003), in addition to back issues of this journal.
[Show full text]
For Release: Tk, 2013
FOR RELEASE: January 23, 2013 SUPPLEMENT CHRISTOPHER ROUSE, The Marie-Josée Kravis COMPOSER-IN-RESIDENCE WORLD PREMIERE of SYMPHONY NO. 4 at the NY PHIL BIENNIAL New York Premiere of REQUIEM To Open Spring For Music Festival at Carnegie Hall New York Premiere of OBOE CONCERTO with Principal Oboe Liang Wang RAPTURE at Home and on ASIA / WINTER 2014 Tour Rouse To Advise on CONTACT!, the New-Music Series, Including New Partnership with 92nd Street Y ____________________________________ “What I’ve always loved most about the Philharmonic is that they play as though it’s a matter of life or death. The energy, excitement, commitment, and intensity are so exciting and wonderful for a composer. Some of the very best performances I’ve ever had have been by the Philharmonic.” — Christopher Rouse _______________________________________ American composer Christopher Rouse will return in the 2013–14 season to continue his two- year tenure as the Philharmonic’s Marie-Josée Kravis Composer-in-Residence. The second person to hold the Composer-in-Residence title since Alan Gilbert’s inaugural season, following Magnus Lindberg, Mr. Rouse’s compositions and musical insights will be highlighted on subscription programs; in the Philharmonic’s appearance at the Spring For Music festival; in the NY PHIL BIENNIAL; on CONTACT! events; and in the ASIA / WINTER 2014 tour. Mr. Rouse said: “Part of the experience of music should be an exposure to the pulsation of life as we know it, rather than as people in the 18th or 19th century might have known it. It is wonderful that Alan is so supportive of contemporary music and so involved in performing and programming it.” 2 Alan Gilbert said: “I’ve always said and long felt that Chris Rouse is one of the really important composers working today.
[Show full text]
Magnus Lindberg Al Largo • Cello Concerto No
MAGNUS LINDBERG AL LARGO • CELLO CONCERTO NO. 2 • ERA ANSSI KARTTUNEN FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU MAGNUS LINDBERG (1958) 1 Al largo (2009–10) 24:53 Cello Concerto No. 2 (2013) 20:58 2 I 9:50 3 II 6:09 4 III 4:59 5 Era (2012) 20:19 ANSSI KARTTUNEN, cello (2–4) FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU, conductor 2 MAGNUS LINDBERG 3 “Though my creative personality and early works were formed from the music of Zimmermann and Xenakis, and a certain anarchy related to rock music of that period, I eventually realised that everything goes back to the foundations of Schoenberg and Stravinsky – how could music ever have taken another road? I see my music now as a synthesis of these elements, combined with what I learned from Grisey and the spectralists, and I detect from Kraft to my latest pieces the same underlying tastes and sense of drama.” – Magnus Lindberg The shift in musical thinking that Magnus Lindberg thus described in December 2012, a few weeks before the premiere of Era, was utter and profound. Lindberg’s composer profile has evolved from his early edgy modernism, “carved in stone” to use his own words, to the softer and more sonorous idiom that he has embraced recently, suggesting a spiritual kinship with late Romanticism and the great masters of the early 20th century. On the other hand, in the same comment Lindberg also mentioned features that have remained constant in his music, including his penchant for drama going back to the early defiantly modernistKraft (1985).
[Show full text]
Seductive Solitary. Julian Anderson Introduces the Work of Kaija Saariaho STOR ® Julian Anderson; Kaija Saariaho
Seductive Solitary. Julian Anderson Introduces the Work of Kaija Saariaho STOR ® Julian Anderson; Kaija Saariaho The Musical Times, Vol. 133, No. 1798. (Dec., 1992), pp. 616-619. Stable URL: http://links.j stor.org/sici ?sici=0027 -4666%28199212%29133%3A1798%3C616%3ASSJAIT%3E2.0.C0%3B2-F The Musical Times is currently published by Musical Times Publications Ltd.. Your use of the JSTOR archive indicates your acceptance of JSTOR' s Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www .j stor .org/joumals/mtpl.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is an independent not-for-profit organization dedicated to creating and preserving a digital archive of scholarly journals. For more information regarding JSTOR, please contact [email protected]. http://www .j stor.org/ Tue Jul 25 00:15:12 2006 .:..,_- ---:.. Kaija Saariaho in focus - • SEDUCTIVE SOLITARY Julian Anderson surveys the w-ork o£ Kaija Saariaho~ a composer pursuing a ~lonely but seductive search £or music at once directly expressive and genuinely new-~ ogether with her compatriot and near-contemporary Magnus T Lindberg (on whose music I wrote last month), Kaija Saariaho is the only Finnish composer since the death of Sibelius to have achieved widespread international acclaim.
[Show full text]
Takemi Sosa Magnus Lindberg — Musical Gesture and Dramaturgy
Magnus Lindberg —Musical Gesture and Dramaturgy ACTA SEMIOTICA FENNICA Editor Eero Tarasti Associate Editors Paul Forsell Richard Littlefield Editorial Board Pertti Ahonen Jacques Fontanille André Helbo Pirjo Kukkonen Altti Kuusamo Ilkka Niiniluoto Pekka Pesonen Hannu Riikonen Vilmos Voigt Editorial Board (AMS) Márta Grabócz Robert S. Hatten Jean-Marie Jacono Dario Martinelli Costin Miereanu Gino Stefani Ivanka Stoianova TAKEMI SOSA Magnus Lindberg — Musical Gesture and Dramaturgy in Aura and the Symphonic Triptych Acta Semiotica Fennica LIII Approaches to Musical Semiotics 26 Academy of Cultural Heritages, Helsinki Semiotic Society of Finland, Helsinki 2018 E-mail orders [email protected] www.culturalacademy.fi https://suomensemiotiikanseura.wordpress.com Layout: Paul Forsell Cover: Harumari Sosa © 2018 Takemi Sosa All rights reserved Printed in Estonia by Dipri OÜ ISBN 978-951-51-4187-3 (nid.) ISBN 978-951-51-4188-0 (PDF) ISSN 1235-497X Acta Semiotica Fennica LIII ISSN 1458-4921 Approaches to Musical Semiotics 26 Department of Philosophy and Art Studies Faculty of Arts University of Helsinki Finland Takemi Sosa Magnus Lindberg — Musical Gesture and Dramaturgy in Aura and the Symphonic Triptych Doctoral Dissertation Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki (the main building), in auditorium XII on 04 May 2018 at 12 o’clock noon. For my Sachiko, Asune and Harunari 7 Abstract The Finnish composer Magnus Lindberg (b. 1958) is one of the leading figures in the field of contemporary classical music. Curiously, despite the fascinating characteristics of Lindberg’s works and the several interesting subjects his mu- sic brings up, his works have not been widely researched.
[Show full text]
Aura · Marea · Related · Rocks
MAGNUS LINDBERG AURA · MAREA · RELATED · ROCKS FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU MAGNUS LINDBERG MAGNUS LINDBERG (1958) Aura (1993–94) 38:33 In memoriam Witold Lutosławski 1 I 13:45 2 II 12:06 3 III 6:51 4 IV 5:50 5 Related Rocks (1997) 16:15 For Two Pianos, Two Percussionists and Electronics 6 Marea (1989–90) 11:52 Emil Holmström & Joonas Ahonen, piano & keyboards (5) Jani Niinimäki & Jerry Piipponen, percussions (5) FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU, conductor 3 Magnus Lindberg: Aura; Related Rocks; Marea The output of Magnus Lindberg reached its first grand culmination in the explosive and colossal orchestral work Kraft (1983–1985), where he drove to extremes the rough-hewn modernism characterising his early output, “combining the hyper- complex with the primitive,” as he himself put it. The aftershocks of Kraft gave birth to the edgy and aggressive UR for chamber ensemble and electronics (1986), but after that Lindberg felt that he had come to the end of this path. The transition was underlined by a severe tropical disease which he contracted on holiday and which prevented him from working for 18 months. Having returned to the drawing board, so to speak, Lindberg began to explore new ideals. The most substantial change occurred in his harmonic thinking. Lindberg described his new approach as “reflecting a tightly structured harmonic model against a kind of natural way of hearing and organising harmony, based on the overtone series,” or, in other words, a merger of serialist and spectral approaches. This new style translated into a more nuanced palette of sonorities, clear-cut textural designs and more determinedly dramaturgical processes.
[Show full text]
Magnus Lindberg Orchestral Music Magnus Lindberg (B
Magnus Lindberg ORCHESTRAL MUSIC Magnus Lindberg (b. 1958) ORCHESTRAL MUSIC CD 1 [65’49] 1 Tendenza (1982) 11’54 Avanti! Chamber Orchestra SAKARI ORAMO, conductor Recorded in May 1996, Kanneltalo, Helsinki Producer: Seppo Siirala · Engineer: Enno Mäemets 1997 Ondine Oy Kraft (1985) 30’16 2 I. 16’04 3 II. 14’12 Toimii Ensemble (Kari Kriikku, clarinet and percussion · Anssi Karttunen, cello and percussion · Magnus Lindberg, piano and percussion · Juhani Liimatainen, sound control and percussion · Lasse Erkkilä, percussion · Riku Niemi, percussion · Esa-Pekka Salonen, percussion) Finnish Radio Symphony Orchestra ESA-PEKKA SALONEN, conductor Recorded in February 2002, Kultuuritalo, Helsinki Producer: Laura Heikinheimo · Engineer and Digital editor: Pentti Männikkö Assistant engineer: Anu Pylkkänen Mixing: Pentti Männikko, Juhani Liimatainen, Laura Heikinheimo, Magnus Lindberg Recorded in co-production with the Finnish Broadcasting Company YLE 2004 Ondine Oy 4 Kinetics (1989) 12’39 Bavarian Radio Symphony Orchestra JUKKA-PEKKA SARASTE, conductor Recorded in October 1989, Herkulessaal, Munich Producer: Michael Kempff · Engineer: Hans Schmid 1992 Ondine Oy 5 Marea (1990) 10’30 Avanti! Chamber Orchestra JUKKA-PEKKA SARASTE, conductor Recorded in December 1991, Sibelius Academy Concert Hall, Helsinki Producer: Seppo Siirala · Engineers: Robi de Godzinsky, Juhani Liimatainen 1992 Ondine Oy CD 2 [66’26] 1 Joy (1990) 26’39 Avanti! Chamber Orchestra JUKKA-PEKKA SARASTE, conductor Recorded in December 1991, Sibelius Academy Concert Hall, Helsinki Producer:
[Show full text]
MAGNUS LINDBERG Accused ∙ Two Episodes
MAGNUS LINDBERG Accused · Two Episodes Anu Komsi Finnish Radio Symphony Orchestra Hannu Lintu MAGNUS LINDBERG MAGNUS LINDBERG (1958) Accused (2014) 38:19 Three interrogations for soprano and orchestra 1 Part 1 5:33 2 Part 2 15:35 3 Part 3 17:11 Two Episodes (2016) 17:56 4 Episode 1 9:16 5 Episode 2 8:40 ANU KOMSI, soprano (1–3) FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU, conductor Magnus Lindberg: Two Episodes; Accused Magnus Lindberg’s journey from the edgy modernism of his youthful period in the 1980s to the softer and richer sonorities of his latest works has been long but logical. The changes in his idiom and expression have not been abrupt but are the outcome of gradual musical evolution progressing slowly from one work to the next. Alongside this ongoing stylistic shift, Lindberg’s recent career in the 2010s was outlined by two appointments as composer-in-residence, both spanning multiple seasons, one with the New York Philharmonic (2009– 2012) and the other with the London Philharmonic (2014–2017). Both included commissions for several extensive works. Two Episodes and Accused, featured on the present disc, came about as a result of the London Philharmonic residency and were thus premiered in London. Nevertheless, as is currently common, both works actually had multiple commissioning parties. This reflects the prominent status that Lindberg has attained as a composer and also illustrates that the orchestra is his principal instrument. The co-commissioners of Two Episodes (2016) in addition to the London Philharmonic were BBC Radio 3, the Helsinki Festival and Casa da Música Porto.
[Show full text]
Reinterpreting the Concerto Three Finnish Clarinet Concertos Written For
Reinterpreting the Concerto Three Finnish clarinet concertos written for Kari Kriikku Sapphire Clare Littler MA by Research University of York Music December 2018 Reinterpreting the Concerto: Three Finnish clarinet concertos written for Kari Kriikku Abstract The origins of the word concerto can be traced to two different sources: the first is the Italian translation, to mean ‘agreement’, and the other stems from the Latin concertare, which means ‘to compete’. Ironically, the duality presented by these two translations encapsulates the true meaning of the concerto: opposition and resolution. This thesis focuses on Finnish works for clarinet and orchestra composed for Kari Kriikku in the last forty years, and seeks to analyse three in depth: Jukka Tiensuu’s Puro (1989); Magnus Lindberg’s Clarinet Concerto (2002); and Kaija Saariaho’s D’OM LE VRAI SENS (2010). The works have been chosen as these composers were all born around a similar time in Finland, and all worked with the same clarinettist, whom they all know personally. Through analysis, Reinterpreting the Concerto seeks to discover how each of these composers tackled the pre- existing model of the concerto, and suggest reasons for compositional decisions. The thesis will end with a discussion of clarinet technique, and how much writing for Kriikku in particular may have influenced the works. This essay will be formed of several sections, with the first examining the traits which could be considered important to each of the pieces: form, and how this results in the linear progression of the work; continuity and discontinuity created through melodic treatment, and how the soloist interacts with the ensemble.
[Show full text]
Magnus Lindberg Kraft
25.10. at 19:00 Helsinki Music Centre RSO-FESTIVAl MAGNUS LINDBERG KRAFT Hannu Lintu conductor Magnus Lindberg, piano, Tuomas Lehto, cello, Giuseppe Gentile, clarinet, Kazutaka Morita, timpani, Naoki Yasuda, percussion, Juhani Liimatainen, electronics 1 Magnus Lindberg: Kraft 27 min I II INTERVAL 25 min Magnus Lindberg: Aura 40 min I II III IV The LATE-NIGHT CHAMBER-MUSIC will follow in the Concert Hall after an interval of about 10 minutes. Those attending are asked to take (unnumbered) seats in the stalls. LATE-NIGHT CHAMBER MUSIC: Laura Vikman, violin Jouko Laivuori, piano J.S. Bach (arr. Schumann): Partita No. 2 in D Minor BWV 1004 30 min I Allemande II Courante III Sarabande IV Gigue V Ciaccona Interval at about 19:40. The concert will end at about 20:50, the late-night chamber music 2 at about 21:30. Broadcast live on Yle Radio 1 and Yle Areena. The concert will be shown in two parts on Yle TV 1 on 7.12. and 14.12. PLEASE MAKE SURE THAT YOUR MOBILE PHONE IS SWITCHED OFF! Photographing, video and sound recording are prohibited during the concert. Magnus Lindberg: freshness. The ensemble’s role was mo- tivated not only by proletarian sounds Kraft mobbing the orchestra but also by the so- cial understanding, the controlled anar- In retrospect, Kraft (meaning “Power”) was chistic comrade-in-arms spirit of the sim- the culmination of Magnus Lindberg’s out- ilar-minded musicians. This guarantees put to date and proof that he had lived up that Kraft will not become a mere monu- to the promise of his early years.
[Show full text]
Wolfe Dissertation FINAL Copy
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE AN ANALYSIS OF TEXTURE, TIMBRE, AND RHYTHM IN RELATION TO FORM IN MAGNUS LINDBERG’S GRAN DUO A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By BRIAN THOMAS WOLFE Norman, Oklahoma 2013 AN ANALYSIS OF TEXTURE, TIMBRE, AND RHYTHM IN RELATION TO FORM IN MAGNUS LINDBERG’S GRAN DUO A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY _______________________________ Dr. William K. Wakefield, Chair _______________________________ Dr. Roland Barrett _______________________________ Dr. Paula Conlon _______________________________ Dr. Michael Raiber _______________________________ Dr. William Beasley © Copyright by BRIAN THOMAS WOLFE 2013 All Rights Reserved. ACKNOWLEDGEMENTS I would be amiss if I didn’t begin with a sincere thank you to my committee for their time and interest in my document. The combined efforts of Dr. William K. Wakefield, Dr. Roland Barrett, Dr. Paula Conlon, Dr. Michael Raiber, and Dr. William Beasley provided motivation throughout the document. As teachers and mentors each will forever inspire me to continue the search for art and creative power in music. Dr. Wakefield, as the chair of my committee your unrelenting guidance, mentorship, and interest in this kaleidoscopic composition has inspired me to find what makes Lindberg’s music sound like Magnus Lindberg. Your support has given me the métier to tell the story of Gran Duo that will assist future conductors during their study. As a mentor and artist your encouragement is second to none! My wonderful wife Erin has not only provided support but has provided me with the ability to make this document possible.
[Show full text]