Customer Reviews

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

5 star:		(4)
4 star:		(3)
3 star:		(3)
2 star:		(0)
1 star:		(0)

 

 

My rating for this disc is simply the average of the two pieces -- 5 stars for AURA, 3 stars for ENGINE. AURA is magnificent, the composition that marked the fruition of Lindberg's mature style. It's interesting that he shies away from calling it a symphony, given that it has the standard four movements. Since AURA, Lindberg's orchestral compositions have been one movement works. ENGINE I find much less successful, a piece utilizing a computer program to generate complex counterpoint. Unfortunately it sounds like it was written by a computer, like a complex machine that grinds on to no purpose.

AURA, composed in 1993-4, like most of Lindberg's works since then, is in a neoromantic style, anchored in a contemporary sensibility but reaching back for tonality and complex harmonic development, influenced by Lutoslawski among others. (AURA is dedicated to Lutoslawski, and Lindberg's friend the conductor Salonen has recorded performances of the L.A. Philharmonic playing Lutoslawki's Symphonies 2, 3 and 4.) Lindberg has developed his challenging yet accessible approach even further on the recent The Music of Magnus Lindberg disc on Sony, which I recommend as the best of Lindberg (see my review). There are also two discs on the Finnish Ondine label, each featuring three of Lindberg's orchestral compositions since his stylistic turn in the late 1980s.

Unfortunately Lindberg seems to have run out of creative inspiration in the new millennium. If you enjoy the Sony set of four compositions and you want to hear AURA, you can either track down a used copy or wait for it to be reissued by Arkiv Music. Arkiv has started reissuing the DG 20/21 discs, so it's likely to reappear one of these days.

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.

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.

Magnus Lindberg's early works more uncompromisingly avant-garde than many of the later, but even the early works provided lots of surface excitement. The basic premise, it seems, was to take the "sound mass" approach of composers such as Xenakis, combining it with rhythmic excitement and energy. Lindberg would subsequently go on to incorporate tonal elements in his music, although the style is recognizably the style of the same composer, making the music even more generally approachable.

Aura is among these later works, and is a symphony (or "symphony") playing continuously (though divided into four movements) for 37 minutes. It is a spectacular work, but the sheer excitement and energy of the music should not overshadow the depth and remarkable individuality of the invention. Lindberg's ability to sustain the large structures without letting the listener's interest falter (at least my interest - I notice that other reviewers disagree) at any point is surely as admirable as the quality of the material he puts into it. Listen for instance to the tumultuous finale (and its clever comment on minimalism) - little contemporary music is as communicative, energetic and full of sheer enjoyment as this. A really superb work.

Engine involves computer-generated procedures, but even using more rigorous techniques does not inhibit the immediate enjoyability and energy of the result. Developing from small thematic cells, Engine works itself up to a radiant, raging piece of primal force and makes quite an impact.

The BBC Symphony Orchestra is remarkable throughout under the leadership of Oliver Knussen, who has done so much for contemporary music. This is music that hurls technical challenges and virtuoso demands at its player, but the BBC players sound unfazed; in short, the performances are simply superb. The only possible complaint, then, is with the sound quality - while clear, it is not always perfectly balanced (the brass sometimes drowns out the other instruments), but I won't let that affect my firm recommendation for this disc - do hear it; there isn't really anything like this music, and the performances are magnificent.

I wanted to hear Aura for a long time as it has been described as Lindberg?s main work written in 90-ies of 20th century. It is a large scale composition, lasting over 40 minutes. Yet I get the feeling Lindberg did not have the form under control. The composition turns into a long mixture of episodes with occasional climaxes and relaxations, which seem to repeat forever. What I like is the conclusion which has really beautiful chords by strings. Bravo, Magnus! But the entire work is too long with such form.
The Engine is more powerful work but it eventually shows the same problem as Aura. Magnus will have to pay more attention to the formal structure as his later works suffer from repeating themselves.

Lindberg is a flashy composer. His breakthrough piece "Kraft" featured an electric drum solo, hiccuping human voices, and pieces of scrap metal found in a junkyard. Since then he's moved in more conventional directions but retained the sense of showmanship.

The not-quite-a-symphony "Aura" (the vague title underlines its vagueness of form) is a big, exuberant piece with a lot of colorful effects, probably not very profound but fun to listen to. It's like taking a car trip across a fascinating natural landscape where the scenery and the weather are in a state of continuous and abrupt change. For instance, the transition from the first to the second movement makes me think of reaching the top of a mountain and encountering a spectacular vista on the other side, while most of the third movement is like a sonic depiction of a snowstorm. The companion piece "Engine" is hardcore schematic modernism--it was composed with the aid of a computer program. It's less appealing than "Aura", but worth hearing.

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.

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Magnus Lindberg is an assured and experienced composer. His composition 'Aura' is an intense and exciting 40 minutes in an approachable, though modern, language. The playing of the BBC Symphony and Oliver Knussen's conducting are excellent and I recomend this disc to anyone who likes a massive orchestral sound, full of interesting colours. Hugely enjoyable!

Lindberg reackons the orchestra is his favourite 'instrument', well, I think he should take up the banjo or something because Aura is a real tedious piece of work. It's too long, too boring and too bland really. Engine is a bit better as there are not as many instruments but it still doesnt capture some of the brilliance of his early stuff. What's more the CD is only about 51mins long, although, seeing the two pieces arent that good I guess that is a blessing?!? Good on DG and Oly Knussen for releasing it, better than nothing I suppose, but its not the best.

If your interested in Lindberg, and I suppose you should be, then check out the the 2CD set, Meet the Composer, on Finlandia records (Sadly not listed on Amazon.com for some reaon, try .de or .fr or .co.uk). Included are his earlier and better orchestral works (including 'Kraft') as well as some excellent chamber works, for intance, '...de Tartuffe, je crois' for piano quintet which mixes episodes of Ferneyhough-like intensity with quotations from Rameau and Lully, or 'Action-Situation-Signification' for ensemble which is a really interesting and a somewhat radical (certainly compared to Aura) 'texture' piece.
What's more you get 2CDs for the price of one and each are about 75 minutes long, you work it out...

Early on he formed some group with Salonen and Saariaho among others whose name translated as "ears open". Mr Lindberg now seems to have his ears closed. Either that or his brain isnt working properly. I should add I guess that many others have raved about this CD so you may like it, I just think you're better off all round going for the Finlandia set. It's up to you.