this is actually the first piece I liked by Lindberg, and I'm a sucker for brilliant orchestration,if it has content like Boulez or Hughes Dufourt,Peter Eotvos,Wolfgang Rihm and Helmut Lachenmann to mention a few, but Lindberg has that aggressive demeanor he brings to his music, but the music ideas the linear ideas are always kept on a short leash,not wanting them to wander too far from an emotive focus I suspect, here the :Piano Concerto: is finely conceived, 'Momente form' somewhat is the structure, where the music seems to drift and unfold from moment to moment,the structural idea however is where the creator is suppose to introduce new materials, startling timbres in each moment, (sometimes each measure of music introduces new timbres,a hammer blow or wind flourish for example)As the"concerto" continues however(with Lindberg himself as pianist) it seems it doesn't draw strength from itself but gets confused within its own materials, so the ideas become tamer,more domesticated as we progress, and then with "marking time" like ideas,1 and 2 and 3 and 4 an,fast, well this is not interesting, Lindberg does however laways get a brilliant sound from the orchestra, the playing is extraordinary Esa=Pekka has a marvelous sense for these threadbare works,luminous timbres floating durations of filigree melodic ideas,like late serial Stavinsky of the "Septet or more interesting the "Movements for Piano and Orchestra"
:Kraft: however is another matter, like we are seeing the other deeper more disturbed side of Lindberg's psychology, I can gloss over the "special effects" orchestration for again I'm a sucker for timbre,but lots of percussion deaden things here, stops the music from flowing,like the four horse riders in"Lord of the Rings" bringing tyranny and death, Lindberg speaks in an original voice here, allowing the dense orchestral situations simply dissipate into simple violoncello tones,menacing, eeeery sul ponticello, with scraps on a guiro,fine particles of sound, and again all this is exquisitely played, all that fine intertistial weavings of timbre, with clarinet glissani,dull thudding bongoes, and cellos solo double stops. But again I don't think Lindberg knows where he is going for we simply drift, which sometimes you want to drift, but come on now! we lived through modernity, and we have too many so-called commissioned composers who also drift from style to trend to fad to cultural "Buzz", Magnus I suspect is in a different creative class for we can tell he loves timbre, the 'mysteries', the power, the paradigm of timbre, what it does, what it can do, and how it should nurtured.Incredible sounds however in "Kraft" also orchestral piano with steel drums, and large spring coils, lots of congas, and bass trombone blats, wonderful stuff.,log drums are here to to really punctuate things, nice safe violence to take our minds off the state of the globe under global warmongers.Something we all learned from Stravinsky is that in order for pure timbre to excite us it needs direction, direction of momentum, of speed, or planning,like hiding behind a corner, you can never telescope where you are going, and Lindberg does do that some of the time, at least enough of the time, where his marvelously power timbres dissipate, so what is left is"abbatoir"like grpahics, here he saves it for the Bb Contra Bass Clarinet, a hideous instrument (of beauty) but here not at all,more like one of Gardner's safe monsters,"Grendel", the monster speaks then non-syllable non-sense, here is another example of not knowing where one is going, so you simply introduce new items into the mix, like ice cream merchants who simply introduce new flavors, as 'tea' flavors, of 'kidney bean' flavors to spark to try to arrest something that is ill-conceived.The"monster" simply drifts further upwards this time to the timbral heavens of piccolo, and crotales, tremoli in the strings, harmonics,and tinckling of the piano,some melos comes to the surface however. but where were we to begin with, I lost it man, we are too far from home now.