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Takemi Sosa Magnus Lindberg — Musical Gesture and Dramaturgy

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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. This study, Magnus Lindberg: Musical Gesture and Dramaturgy in Aura and the Symphonic Triptych, examines Lindberg’s technical and aesthetic think- ing by analyzing his significant works of the 1990s: Aura (1994) and the Sym- phonic Triptych, which includes Feria (1997), Cantigas (1997–99), and Parada (2001). The main purpose of the study is to demonstrate the composer’s con- struction of gesture and dramaturgy from the viewpoint of musical dramaturgy. The analyses focus on Lindberg’s strategic design, which is called dramaturgi- cal cohesion in narrative. The main theoretical framework is musical narrative (see, for example, Taras ti 1994, Almén 2008, Grabócz 2008). Methodologically, the research is based on an approach that combines musical narrative with “traditional anal- ysis,” by which I mean examining the form and structure of a work. Musical narrative in turn draws ideas from the study of theater and literature. My idea of musical gesture and dramaturgy is based on this combined analytical meth- od. An essential concept here is dramaturgy, which is anchored to the theory of drama, especially the model of tragedy based on Aristotle’s Poetics. This model consists of five parts of drama (exposition, rising action, peripeteia, falling ac- tion, and dénoument) and the climax. The precise examination of a climax re- fers to the idea of telos. Telos, meaning the goal of a linear process, is a central aspect of a syntagmatic relationship. And as a culmination that unifies struc- tural levels, telos is also central to paradigmatic relationships. Musical gesture refers to a musical event that plays the main role in a composition’s function- al units. Musical gestures are subordinate to dramaturgical cohesion or hierar- chical structure. In order to focus on telos and its function in a dramaturgical structure as a whole, it is important to examine the relationship between telos and gestures. For this analysis, I use the orchestral scores of four Lindberg works togeth- er with sound materials (CDs) and the composer’s drafts of compositions in or- der to find and identify gestures, telos, and elements of narrativity. In addition, 8 Takemi Sosa: Magnus Lindberg — Musical Gesture and Dramaturgy the interviews that I conducted with Lindberg and selections from his writings reflect the composer’s aesthetic-technical and dramaturgical thinking. The most significant finding is that a certain dramaturgical structure, which I call “the Lindberg dramaturgy,” is found in all four works analyzed here. This structure is associated with Aristotelian dramaturgy. Lindberg’s music opens with an exposition (the opening gesture), in which the basic material is present- ed. The musical process develops toward chaos, which must somehow be resolved. Music is now in a state of saturation; the musical motion slows down and musi- cal tension heightens. As a result of the saturation, an explosion occurs. Finally, a unison, a tonality, or some kind of ending gesture with a long note or fadeout follows the explosion – Lindberg’s catharsis (=cleansing). I claim that the mu- sical narrative of Aura and the Symphonic Triptych are based on this formu- la. The process to the telos is indicated by the vision of narrativity moving from chaos to clarity, a concept on which the dramaturgy of these four works is based. Magnus Lindberg’s music is unique in its rapid-gestural and energetic style and its richly detailed orchestration. The result of this study shows that beneath his music’s complexities, there is simple and traditional dramaturgy, which we can identify and which invokes the listeners’ sympathy. The consistent musical structure and his principles — a musical continuum and the extended chaconne principle—create a dynamic flow of expression in his music, which is based on the conventional and simple Aristotelian dramaturgy. For this reason, a listen- er probably perceives this dynamic motion and dramaturgy as potentially famil- iar. Lindberg’s profound artistic quality lies in this distinction. 9 Acknowledgments Throughout this study there have been a number of individuals and institutions who have supported me in various situations and stages, and I wish to express my gratitude to all of them. First and foremost, I would like to acknowledge Magnus Lindberg. He has always been kind, granting me several interviews in which he openly answered my questions. He has also given me permission to use facsimiles of his notes, sketches, drafts, and memos. Without this coopera- tion, this study would not have come into existence in this way. I am extreme- ly grateful to him. Second, I am happy to have met such great persons as Eero Tarasti and Alfonso Padilla, both of whom have been important teachers and my supervi- sors. Eero Tarasti’s idea of musical semiotics, his wonderful insights into mu- sic, and his scientific and philosophical-transcendental views have fascinated and inspired me to continue my long course of study in Helsinki, of which this dissertation is the direct outcome. I would like to recognize Eero Tarasti’s var- ious kinds of support and his encouragement in this study. Alfonso Padilla has read my study from start to finish in great detail and made very important comments, which have supported me psychologically as well as physically. As a person, his unyielding attitude of never giving up on an- ything, as well as his immersion in musicology and in his responsibilities has greatly influenced me. I regard him as a second father and a genuine teacher. Anne Kauppala was my preliminary examiner and opponent in my pub- lic defense, and I am especially grateful to her. Her studies in which she offers fresh insight into the musical narrative of modern music have served as mod- els for me. Her sharp and reasonable criticism and constructive proposals for improvement helped in revising the final version of this study. Also very special thanks to Susanna Välimäki. She has read my study as another pre-examiner. Earlier, she had read my article and master’s thesis in great detail and showed her understanding and interest in my research from my graduate student days. Her detailed comments, which are always full of pas- sion for music, and her suggestions for improvements encouraged me in the fi- nal revision of this study as well. The Finnish Cultural Foundation provided financial assistance for gather- ing research materials, and for the article on the musical analysis of Lindberg’s Feria, which was carried out as part of the initial research for this study. The 10 Takemi Sosa: Magnus Lindberg — Musical Gesture and Dramaturgy Kone Foundation also supported me with valuable, long-term assistance. With- out the Kone Foundation’s support, I would not have been able to bring about this monograph as a coherent whole. In addition to these foundations, the Al- fred Kordelin Foundation provided financial support and encouragement for fin- ishing this study. I would like to thank them here. The Finnish Music Information Centre (FIMIC), currently Music Finland, provided practical support in terms of information and resources. FIMIC pre- serves valuable information about Lindberg, archives of articles on the com- poser, reviews of CDs, and press comments on concerts. Special thanks to Kari Laitinen who, with the composer’s permission, provided me with a number of Lindberg’s musical sketches and drafts, which became some of the most impor- tant materials in my study. The Avanti! Chamber Orchestra enabled me to become familiar with the Finnish contemporary music scene. I am very grateful to Sirpa Hietanen (the executive director at the time) and Riikka Noreila (the intendant at the time). Thanks to them, I obtained the interviews with Magnus Lindberg and acquaint- ed myself with various performances of Finnish modern music, as well as with orchestral scores by contemporary composers. Many thanks to the supporters and proofreaders who have corrected and revised my language, both the English and the Finnish. My friend and school- fellow Matti Takala always gave me valuable help and read the Finnish texts of my initial manuscript. My friend Bart Gaens kindly read and corrected my English language. Also my friends Pekka Karhula and Seija Salminen helped in the interpretation of the German text.
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