Published online by Cambridge University Press: 22 January 2016
The decades immediately following World War II constituted a flourishing period of musical innovation on the international scene, encompassing a considerable range of stylistic orientations and techniques. Exploration that led to genuinely innovative compositional practices involving relationships among melody, harmony, rhythm, and timbre reached fruition by the mid-1980s. Accordingly, the challenge to composers who emerged during this latter period was twofold: to develop personal styles through a discriminating selection from this large heritage of techniques and stylistic resources – and, in the process, to avoid imitating composers who had used them earlier. In countries not dominated by any particular compositional doctrine – most notably the United States, Great Britain and the Nordic countries – important composers emerged as consolidators who combined and synthesized these resources in a fresh and individual manner. One who has responded most successfully to this challenge is Finland's Magnus Lindberg.
1 On which see Warnaby, John, ‘The Music of Magnus Lindberg’, Tempo 181 (06 1992), pp.25–30 CrossRefGoogle Scholar.
2 From the composer's programme notes for the world premiere of Corrente II, kindly provided by Chester Music.
3 From the composer's programme notes for a performance of Aura, kindly provided by Chester Music.
4 See Anderson's, Martin article on Magnus Lindberg, ‘The large spans’, Nordic Sounds, no.2, 1998, p.9–13 Google Scholar.
5 Fería, Arena, and Corrente II have been recently issued on an Ondine CD, (ODE 911–2), with the Finnish Radio Symphony, conducted by Jukka-Pekka Saraste.
6 From David Allenby's programme notes to the world premiere performance, kindly provided by Boosey & Hawkes.