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- Magnus Lindberg
Quintetto dell' estate (1979)
- Chester Music Ltd (World)
Programme Note
Magnus Lindberg regards as his Opus 1 the Quintetto dell'estate (Summer Quintet), completed in Siena, Italy, in 1979. The work is scored for Pierrot line-up: flute, clarinet, violin, cello and piano. In connection with this work Lindberg has spoken at length of Sibelius' 7th Symphony, from which he has found the same kind of interesting features, bearing on the compositions of today, as have certain of the younger generation of French composers, such as Tristan Murail.
Quintetto dell'estate is energetic, virtuoso music, which in a compositional sense ib built up of five puzzle-pieces - small musical ideas with all their relevant parameters defined - which are set up in different relationships with each other. In characteristic Lindberg fashion each instrument has its own cadenza, and the overall form is shaped of short passages, the climaxes of which is arranged such that each instrument marks time repeating its own rhythm, and gradually notes disappear from each rhythmic figure, until the situation reaches its simplest possible form. The intensity is raised not by stepping up the degrees of complexity, but rather by its elimination. This feature can be found, given different treatments, in several of Lindberg's works.
The cadenza passages in the Quintetto also subtly exhibit Lindberg's use of open form principles. Four different possible arrangements are offered for combining the cadenzas and interludes, with the performers at liberty to choose whichever they prefer.
Risto Nieminen
Quintetto dell'estate is energetic, virtuoso music, which in a compositional sense ib built up of five puzzle-pieces - small musical ideas with all their relevant parameters defined - which are set up in different relationships with each other. In characteristic Lindberg fashion each instrument has its own cadenza, and the overall form is shaped of short passages, the climaxes of which is arranged such that each instrument marks time repeating its own rhythm, and gradually notes disappear from each rhythmic figure, until the situation reaches its simplest possible form. The intensity is raised not by stepping up the degrees of complexity, but rather by its elimination. This feature can be found, given different treatments, in several of Lindberg's works.
The cadenza passages in the Quintetto also subtly exhibit Lindberg's use of open form principles. Four different possible arrangements are offered for combining the cadenzas and interludes, with the performers at liberty to choose whichever they prefer.
Risto Nieminen