Narratiivinen tila ja temporakennelma Magnus Lindbergin teoksessa Parada

Abstract

This article examines the musical narrativity and temporal structure of Magnus Lindberg’s (1958–) orchestral composition Parada (2001). The main focus is on the "dramaturgy", in other words how Lindberg’s own compositional-technical intentions are conveyed through this work’s structural shape. Methodologically the article combines traditional music analysis and musical semiotic interpretation, especially from the viewpoint of narrative.

The dramaturgical structure of Parada firstly features the fact that the opening of the composition, which employs an effective and powerful main subject, returns in the coda. In this respect Parada is indeed similar the Feria and Cantigas. These there works form a triptych. Parada follows an ABA’ process form. The return of the subject refers to actions that Tarasti (1994, 120 and 286) calls "engagement and disengagement". The temporal structure of the work also reflects the ABA’ process form. The tempos of the passages are proportionally defined: In the first slow section (A), the tempo of each passage is one fourth faster than that of the previous passage. In the central scherzo section (B), the tempo of each passage is one third faster than that of the previous one until the climax of the composition. In the final slow section (A’), the tempo of each passage is one fourth slower than that of the previous one. The analysis reveals that the tempos are hierarchical and their ratios can be identified as two basic temporal dimensions, Y and Z. This all indicates that Lindberg’s compositional approach (i.e. defining and applying of basic materials as parameters) reflects post-serialism. Ultimately, this approach follows the ideal of symmetry.

Lindberg employs some other striking dramaturgical gestures as well: The so-called Mahlerian Melody (that begins in measure 54) has a strong tonal feel. This melodic material is relatively simple and slow in tempo, which is rare for Lindberg. It could be said that in Parada Lindberg began to apply tonal harmonies as an enriching element within textural changes and musical dramaturgy. Later this approach evolved into a practice where Lindberg employs tonality as a palette or framework for an entire composition. This article concludes that the deeper structure and dramaturgy of Parada were influenced by the traditional formal thinking of the late Romanticism. In addition, Parada betrays some Jean Sibelius influences. It seems that Lindberg has searched and develop means and ways to use traditional musical materials and recreate internal dramaturgical tensions of tonal music. Parada can be seen as a bridge that leads to Lindberg’s other works of the 2000s.