Subtitle: For Large Ensemble
1. - 9:40
2. - 10:05
3. - 4:45
B-flat Soprano Clarinet
Horn in F I-II
- Bass Drum
- China Cymbals (2)
- Suspended Cymbal, medium and large
None discovered thus far.
The title Souvenir alludes to two of Lindberg’s teachers, giving it the flavour of an hommage or a memorial. The programme of the concert where Souvenir was premiered also included Gérard Grisey’s Quatre chants pour franchir le seuil. Grisey died in 1998; this was his final work, which he never heard performed. Lindberg studied with Grisey in Paris in the early 1980s and wished to dedicate a tribute and souvenir to his significant mentor. Indeed, the work bears the subtitle ‘in memoriam Gérard Grisey’. The other tribute in the title is to Italian composer Franco Donatoni, with whom Lindberg also studied; Donatoni’s output also includes a work named Souvenir (1967), sub-titled ‘chamber symphony’.
It is the subtitle of Donatoni’s work that yields a clue as to what genre Lindberg’s Souvenir might be assigned to. Lindberg has never wanted to describe any of his works as a ‘symphony’ or even a ‘chamber symphony’ but does concede that Souvenir is conceived as a type of chamber symphony. It is a three-movement piece whose movements may be ascribed functions in the symphonic tradition. Also, there is a clear sense of symphonic growth and coherence of musical material in the form of recurring motifs.
In the context of Lindberg’s output, Souvenir represents a return to the large chamber ensemble last seen in Jubilees, after several works for large orchestra. This is an ensemble in the true sense of the word, as there is only one instrument or musician per part, except for the horns and percussion. However, all the standard instruments of the symphony orchestra are included (piano and harp too). The sound of the music ranges from a chamber-music lucidity to an almost Romantic orchestral opulence.
Lindberg describes the first movement as “a vortex, a fast and concise movement where events collide”. However, the music begins low and heavy before the momentum gets going. The rhythmic element coalesces in a couple of brief percussion interludes preceding the eruption that culminates the movement.
"The shape of Souvenir is built around the middle movement. It is supposed to be a slow movement, but it escalates into grand culminations,” says Lindberg. The musical expression here extends from lyrical woodwind colours and Ravel-like clarity to massively powerful climaxes, balanced by solo utterances from individual instruments (piano, violin, harp).
The fast concluding movement is much briefer and more to the point than the other two; Lindberg describes it as “toccata-like”. After a brief introduction, it launches into a determined, energetic motion that coalesces into the brilliant final climax.
- Program Note from liner notes of Ondine CD Magnus Lindberg
- Audio CD: Tapiola Sinfonietta
None discovered thus far.
To submit a performance please join The Wind Repertory Project
- University of Maryland (College Park) Wind Orchestra (Michael Votta, conductor) – 6 October 2017
- New York Philharmonic (Alan Gilbert, conductor) – 19 November 2010 *Premiere Performance*
Works for Winds by this Composer
- Lindberg, M. (2010). Souvenir : For Large Ensemble [score]. Boosey & Hawkes: London.