Lindberg, Magnus: Complete Piano Works (Klavierstueck / Musik for tva pianon / Tre sma pianostyvken)
$8.99
(COMPACT DISC)
In Stock - Usually ships within 24 hours.
Just copy this code and paste it where you want the link on your website:
Music for 2 Pianos (more info)
-
Music for 2 Pianos - 07:22
Klavierstuck (more info)
-
Klavierstuck - 12:39
3 Short Pieces (more info)
-
No. 1 - 00:48
-
No. 2 - 01:30
-
No. 3 - 01:58
Play I (more info)
-
Movement 1 - Routes 1 - Movement 2 - Prism 1 - Routes 2 - Movement 3 - 07:48
-
Figures and Points - Mirrors - Figures and Points - 06:33
-
Movement 4 - Prism 2 - Routes 3 - Closure - 03:26
Twine (more info)
-
Twine - 07:16
Jubilees (more info)
-
I. quarter note = 96 - 03:14
-
II. quarter note = 64 - 02:23
-
III. quarter note = 128 - 01:14
-
IV. dotted quarter note = 64 - 03:17
-
V. quarter note = 162 - 01:18
-
VI. half note = 64 - 04:12
Etude No. 1 (more info)
-
Etude No. 1 - 03:50
Etude No. 2 (more info)
-
Etude No. 2 - 03:41
Reviews
Write a review
Beguiling modernism (Oct 5, 2008)
Reviewer:
Emma Choi
Although he’s known primarily for his orchestral music, Magnus Lindberg’s compositions for solo and dual piano are equally accomplished and intriguing, if less densely structured. This Naxos disc presents all of his piano music to date, from 1976 through 2004, allowing listeners the opportunity to trace his ongoing stylistic progression. Early works like “Music for Two Pianos,” “Piano...
Although he’s known primarily for his orchestral music, Magnus Lindberg’s compositions for solo and dual piano are equally accomplished and intriguing, if less densely structured. This Naxos disc presents all of his piano music to date, from 1976 through 2004, allowing listeners the opportunity to trace his ongoing stylistic progression. Early works like “Music for Two Pianos,” “Piano Piece” and “Three Pieces for Piano” reflect Lindberg’s initial adherence to serialism, yet without betraying a particularly formalist or analytical feeling. They are distinguished by unusually long silences between notes, which Lindberg utilizes to enhance tension and drama. These silences take a little getting used to, but soon come to feel quite organic. More important, they help to concentrate attention on the music itself, which is stark and abstract, albeit with a fugitive lyricism lurking around the edges. In “Play I” (1979), Lindberg begins to manifest a more overtly dramatic narrative and a greater indulgence in rhythmic variation. Later pieces like “Twine” (1988), “Jubilees” (2000) and “Etudes” (2001, 2004) are more romantic and accessible in their harmonic and melodic conception, yet still resonate with a wonderful modernist complexity. Primary pianist Ralph van Raat exhibits an instinctive and inspired touch throughout. He’s faithful to Lindberg’s aesthetic, clearly communicating the music’s intentions and effects, while lending it his own interpretive stamp. Maarten van Veen ably complements van Raat on the pieces written for two pianos, which greatly benefit from the added texture and color.
(read more)