Magnus Lindberg’s Feria:

From the late 1970’s Lindberg has used different and even contradictory techniques and technical resources, as they suited his expressive purposes. Serialism, Stockhausen, Donatoni, Allan Forte’s [pitch] set class theories, Berio, Stravinsky, Lutoslawski’s two part form and French spectral theories are handled into a highly individual unity of style and expression that avoids any sense of post-modern stylistic shifting, seeking for a sort of new classicism. Lately, the style has turned into some post romanticism ( Concerto for orchestra, Sculpture, violin concerto).I will discuss and explain how Lindberg develops a single musical idea into a more extended piece and how these musical identities or characters are transformed at different levels of complexity –textural variations- whilst maintaining the vitality and characteristics of their original idea. Finally, I will demonstrate how in Lindberg, timbre, orchestration, register, texture and rhythm activity are related to one single constructive idea which determines the overall structure of the composition: identity and block forms in relation with French spectral theories (harmony).