Magnus Lindberg's Feria:: Thematic Transformation and Textural Density in Lindberg's Late Orchestral Music

From the late 1970?s Lindberg has used different and even contradictory techniques and technical resources, as they suited his expressive purposes. Serialism, Stockhausen, Donatoni, Allan Forte?s [pitch] set class theories, Berio, Stravinsky, Lutoslawski?s two part form and French spectral theories are handled into a highly individual unity of style and expression that avoids any sense of post-modern stylistic shifting, seeking for a sort of new classicism. Lately, the style has turned into some post romanticism ( Concerto for orchestra, Sculpture, violin concerto). I will discuss and explain how Lindberg develops a single musical idea into a more extended piece and how these musical identities or characters are transformed at different levels of complexity ?textural variations- whilst maintaining the vitality and characteristics of their original idea. Finally, I will demonstrate how in Lindberg, timbre, orchestration, register, texture and rhythm activity are related to one single constructive idea which determines the overall structure of the composition: identity and block forms in relation with French spectral theories (harmony).