Magnus Lindberg burst onto the contemporary music scene in the 1980s with his early work Kraft (as in "power", and not the American food conglomerate and inventor of Velveeta cheese by-product substance), an avant-garde spectacular that took the "sound mass" procedures of Berio or Xenakis and wedded them to an explosive rhythmic energy. He's broadened his style since then, taking in tonal elements and even the occasional tune, but the rhythmic vitality remains, and his coloristic gifts, his ear for ever new and remarkable instrumental sound combinations, have only increased. Aura is a four-movement symphony as indescribable as it is a joy to hear. Dedicated to the memory of Lutoslawski, the piece shows its composer similarly possessed of a vibrant, communicative personal musical language. Although it plays continuously for about 37 minutes, newcomers to Lindberg's sound creations should start with the finale, a sort of dance that begins with simple tunefulness before finding itself in a sort of riotous minimalist hell. It's hugely fun, as is the entire work.
Christian Lindberg, see, the best thing that's ever happened to the trombone. The man can actually fill concert halls for his solo recitals all over the world, and if you don't think that's astonishing, just ask yourself if any other trombonist alive could do it; in fact just ask yourself if you can think of the name of another solo trombonist. Yes, he's that good. And that means not only does Lindberg make marvellous sounds with his 'bone, but sometimes people write him marvellous music for it as well.
Christian Lindberg is perhaps the first classical trombonist to maintain a successful full-time performing career as a soloist. Though now considered among the instrument's foremost exponents, he actually took up the trombone fairly late, only starting playing at age 17 after hearing recordings by the great jazz trombonist Jack Teagarden. By 19, Lindberg was the principle trombonist of the Royal Opera Orchestra in Stockholm. But he left that position after just a year, saying he was bored playing in an orchestra.
This recording further justifies Jakob Lindberg’s position as one of the leading lutenists of his generation. The lute, notorious for producing extraneous noises and unwanted overtones is skilfully tamed in his hands. Clear melodic lines, exact rhythms, together with precise decorations and phrasing, are all part and parcel of his technique.