ManiFeste-2013 » Lindberg

EXAUDI – Ensemble intercontemporain

root — Sat, 15 Jun 2013 20:00:00 +0000

Dominant composer of his generation in Spain, Alberto Posadas leads an imposing work where the unique pungency of details is included in a vision of a whole, often a vision of a tragic and dark painting. Like his teacher, Francisco Guerrero, Posadas uses fractal geometry to create large forms, reiterating a figure on several scales. After Quatre scènes sombres inspired by Goya and Elogio de la sombra for quartet, Posadas has created his Tenebrae on fragments of Novalis, Stefan Georg, and the Bible. Starting with Nietzsche’s The Traveller and His Shadow, Rihm has sketched an inner boundary (Innere Grenze).

Magnus Lindberg © Saara Vuorjoki / Fimic

Magnus Lindberg’s Jubilees provides a brilliant contrast to the other works presented during this evening’s concert. Written for Pierre Boulez’ 75th birthday, lightly ignoring the throes of expressionists, solemn depth.

Magnus Lindberg Jubilees
Alberto Posadas Tenebrae, commissioned by Françoise and Jean-Philippe Billarant, premiere
Wolfgang Rihm Klangbeschreibung II – Innere Grenze

EXAUDI | Ensemble intercontemporain
Conductor François-Xavier Roth
IRCAM Computer Music Design Thomas Goepfer

7pm, Cité de la musique, Médiathèque

Presentation of the concert by Clément Lebrun, musicologist
Free entry upon presentation of a ticket for the evening’s concert.
Reservation required: 01 44 84 44 84

A part of the Biennale d’art vocal. An Ensemble intercontemporain, Cité de la musique, IRCAM-Centre Pompidou coproduction. With the support of the Sacem and Diaphonique, fonds franco-britannique pour la musique contemporaine. Concert broadcast on France Musique on June 24 at 8pm during Les Lundis de la contemporaine.

Portrait Maresz I

root — Thu, 06 Jun 2013 20:30:00 +0000

The long-awaited creation by Yan Maresz incarnates an old dream, that of complete work that removes all distinctions between material and dramaturgy. A Sockhausen-like utopia of total inimitability, where electronic synthesis originates from rhythm, where electronic and instrumental timbres are created simultaneously. To escape from the overly familiar country of mixed music, Yan Maresz has pushed aside his own idiom – speed, malleability, pulsating and figurative music.

Magnus Lindberg shares this evening’s stage with the musikFabrik ensemble and the French American pianist David Lively. Written after spending hours with Stravinsky’s Noces, Lindberg’s Coyote Blues was born of the desire to create a work for voice, traces of which can be found in the purely instrumental melismas.

Vocal models manipulated by computer programs are also a part of Sébastien Gaxie’s work in his polyrhythmic creation for piano. A composer-pianist fascinated by Bach’s Well Tempered Clavier.

Sébastien Gaxie Continuous snapshots, commissioned by IRCAM-Centre Pompidou, Premiere
Magnus Lindberg Twine, Étude I et II, Coyote Blues
Yan Maresz Tutti, commissioned by Françoise and Jean-Philippe Billarant, Kunststiftung NRW and Ensemble musikFabrik, Premiere

David Lively piano
Ensemble musikFabrik
Conductor Peter Rundel
IRCAM Computer Music Design Olivier Pasquet, Thomas Goepfer

An Ircam/Les Spectacles vivants-Centre Pompidou coproduction. With the support of the Sacem.
Concert broadcast on France Musique June 17 at 8pm during the radio show Les Lundis de la contemporaine.

Magnus Lindberg

root — Fri, 05 Apr 2013 10:08:17 +0000

Born in Helsinki in 1958, Magnus Lindberg began the piano at 11 years old. He studied writing, composition, and electro-acoustic music with Risto Väisänen, Einojuhani Rautavaara, Paavo Heininen, and Osmo Lindemanthe at the Sibelius Academy. Lindberg met Brian Ferneyhough and Helmut Lachenmann in Darmstadt, Franco Donatoni in Sienna, and in 1981 became the student of Vinko Globokar and Gérard Grisey in Paris. He worked in the EMS Studio in Stockholm in the end of the 1970s and at the experimental studio of the Finnish radio, as well as IRCAM, beginning in 1985.

Lindberg’s career as a pianist led him to perform works by Berio, Boulez, Stockhausen, and Zimmermann. In 1977 he founded, with Kaija Saariaho and Esa-Pekka Salonen, and others, the association Korvat auki (Open the Ears) and in 1980, the Toimii ensemble that will serve as a musical lab for him.

During his Parisian period (1981-1993), his music was open to a variety of influences that he assimilated in a very personal way, far from any post-modern aesthetic. If we can still find traces of Sibelius, of free jazz, of the energy of post-punk groups, of American minimalism, or of traditional musics such as those of South-East Asia, Lindberg has not adopted the legacy of Babbitt’s American Serialism or the principle of harmonic classification of Allen Forte’s Set Theory. French Spectralism also contributed to the creation of his harmonic writing, associated with the idea of the chaconne.

Beginning in the 1990s, the composer aspired to a greater purity of sound, a lightness of ornamentation, and found that he was partial to large orchestras. He endeavors to emancipate individual virtuosity from the orchestral mass whilst conserving the large textural effects.