Magnus Lindberg

During his Parisian period (1981-1993), Magnus Lindberg’s music was receptive to diverse influences he assimilated very personally, far from all post-modernism. While we can distinguish traces of Sibelius, free jazz, post punk, American minimalism, and traditional music from South-East Asia, Lindberg  adopts the foundations of the American serialism of Babbitt and Forte’s Set Theory. Spectralism contributes to the elaboration of his harmonic writing, associated with the principle of the chaconne. Beginning in the 1990s, he aspires to a purity of sound, a weightlessness in the ornamentation, and finds the orchestra to be his preferred formation. He attempts to emancipate the virtuoso individuality of the mass while preserving the effects of the texture.

Photo : © Philip Gatward