Search - Magnus Lindberg, Oliver Knussen, London Sinfonietta :: Magnus Lindberg: Aura - In Memoriam Witold Lutoslawski (1993-94) / Engine (1996) - Oliver Knussen / London Sinfonietta

One great piece, one unsuccessful piece from a fine composer

Christopher Culver | 11/01/2004

(3 out of 5 stars)

"This disc in Deutsche Grammaphon's "20/21" line of contemporary music presents two pieces by Finnish composer Magnus Lindberg performed by the BBC Symphony Orchestra ("Aura") and the London Sinfonietta ("Engine") conducted by Oliver Knussen. While Magnus Lindberg is one of my favourite composers, I feel that this disc does not represent his best recent work.



Lindberg's oeuvre can be split into two periods. That of his youth was squarely within the avant-garde and culminated in 1985's "Kraft", a massive work (the score is nearly a meter tall) of titanic forces using not only traditional instrumentation, but also lots of clinking and clanking and spoken word. The result, though conceptually interesting, shows music out of control where its disparate parts are not closely intergrated. After a hiatus of over three years, Lindberg returned with his trilogy "Kinetics"-"Marea"-"Joy", where his new compositional technique had him building giant networks of harmonies but keeping them all meticulously managed and interrelated. This is the style he has continued with to this day, and in it he has created some true masterpieces of modern-classical music, such as "Feria", "Cantigas", and his "Cello Concerto". The two pieces on this disc are from this second period.



The four-movement "Aura", written in 1993-94 and dedicated to the memory of Witold Lutoslawski (whose use of harmony Lindberg learned and even surpassed), is his longest work, and though nearly anyone would think it a symphony, Lindberg has not called it so. The work has many interesting moments, and had it been a little shorter this could have been one of Lindberg's best works. Unfortunately, it does seem to repeat the mistake of "Kraft" in that the instrumental forces fly out of Lindberg's control. Some sections maintain closely-knit forms, but far too much of the work seems uncertain and meandering. In 2003 Lindberg's "Concerto for Orchestra" appeared, which succeeds with the aim of exploring the orchestra in its entirety, but "Aura" fell short of the mark.



"Engine" is more successful and conceptually quite fascinating. A study in the juxtaposition of contrapunctual elements, it was realised with the help of computer software, which Lindberg has found most helpful for the complicated systems of his compositions. It also shows some impressive games with rhythm. This is the piece I keep coming back to this disc for.



The BBC Symphony Orchestra and London Sinfonietta give satisfactory performances. I particularly like the comfort the Sinfonietta shows with "Engine". Oliver Knussen's conducting seems dependable, but I would have liked to hear how Lindberg's old school chum and oft conductor Esa-Pekka Salonen would have handled the two pieces. The liner notes are also quite informative about Lindberg's work and his principles. I am disappointed, however, that DG did not include another work to fill this 51-minute disc. The majority of Lindberg's works could have easily fit in the remaining space.



If you have not heard Lindberg's work before, I'd recommend staring with the MUSIC OF MAGNUS LINDBERG disc on Sony, though "Feria"-"Corrente II"-"Arena" on Ondine is also a good choice. While "Aura" is one of his larger works, I don't think it works too well, and "Engine" isn't enough on its own to introduce one to this fine composer's work."

Modern "Metropolis"

Christopher Culver | 06/14/2002

(5 out of 5 stars)

"My line coming from that this music reminds me of a postmodern/modern version that might had suit Fritz Langs film "Metropolis" even if this is NOT "motor music" or minimalism that you find in Philip Glass music. Anyway... this is Lindbergs best music so far (and I include his new disc at Sony -june 2002- in that opinion) and it is an importent modern work that has a line, something to say and that is not always you could find that in Lindbergs works but on this Lindberg and conductor Knussen succeeds delivering.A must have for people intrested in modern classical music."

Like special effects studio music ,overlycharged,no center

scarecrow | Chicago, Illinois United States | 12/29/2000

(3 out of 5 stars)

"Lindberg certainly has a technique for orchestration, most of his works throughout his career have been for orchestra,this instrument which for some may take a lifetime to mount,to master. He also has admirable,formidable performers here with the BBC Orchestra, and the London Sinfonietta, an ensemble that has commissioned and specializes in the avant-garde credo of new expression ( although their selections does favor the established predictable cadre of institutionalized music creators). The music here is overcharged,overdetermined, overwhelming at times yet utterly without a sensitivity to detail. Well that's not Lindberg's musical language, he paints his musical canvasses with large brushes, sometimes with a broom to spew out Brass and overladen percussion,like melodic arresting motives,French Horn moments especially. Lindberg although adopting a modernist pallette, hasn't the sensitivity to sound and timbre, he simply allows the orchestra to explode,reiterating ideas without points of reference.Is this considered a point of creative freedom within the mileau of postmodernity, as Wolfgang Rihm also espouses?, I don't know. I simply found much of the music gratuitous without direction,one idea after the other in almost mindless succession that had no structural design to it on a global level."