Corpus Cum Figuris is a uniform composition in three major parts. The first part is a slow marche funébre a kind of prologue with dark and sombre sounds and a massive wall of chords which leads us to the other part of the works where the static and solemn atmosphere is suddenly stopped and replaced by a rhythmic/melodic ritual which accelerates the music. In the third part the block structure is softened gradually different figurations and stylistic elements arise to live their own lives: distant waltzes and pictures from the Middle Ages appear in this gigantic sonorous body. After a wild percussion orgy a short flash-back and a scream from the edge end Corpus cumFiguris. The piece has no literal content at all even though the title leads the thought to Adrian Leverkühn?s Apocalipsis cum Figuris from Thomas Mann?s Doctor Faustus. More likely my piece will arouse associations as with all my music. It has to be heard in it?s own conditions in this case as a big body of music or perhaps as a great screen where the details of course are part of the whole body but at the same time are foreign and odd. It is as if one climbs a mountain and from the top of that mountain discovers a world which is completely different from expected. Corpus cum Figuris for 20 musicians was composed in 1984 commissioned by Ensemble InterContemporain and the Danish Radio. Ensemble InterContemporain world premiered the work in April 1985 conducted by Peter Eötvös. The piece was also played at the ISCM-festival in Amsterdam by Netherland Radio Chamber Orchestra conducted by Ernest Bour.

The full score of Arena II written in 1996 by Magnus Lindberg for Chamber Orchestra. The work is a version for sixteen instruments derived from it's predecessor Arena and was commissioned by the LondonSinfonietta with funds from the Arts Council the Aldeburgh Festival and the South Bank Centre.

Commissioned by the St Magnus Festival with funds from the Scottish Arts Council. First performed by The Fires of London in June 1978 in St Magnus Cathedral Kirkwall.The work takes as its starting-point a sequence of dreams related by Franz Kafka in his diaries of 1910. Eduardova was a Russian ballerina whom Kafka had seen dancing in Prague in the early part of this century. The music of The Dancer Eduardova is based on dancing particularly the csardas which in his dream Kafka had asked the dancer to perform just one time more. Kafka's dream-sequences contain the uncomfortable contrasts of the grace of the dancer and the loathsome gestures of unconscious intriguers;there are abrupt changes of mood to sorrow and despair. Flowers presented by all the Princes of Europe appear in the dreams as do trains and trams on which Eduardova travels with two vigorous violinists.

Composed in homage to William Glock this single movement has something of the character of a slow fugue on a theme deeply imbued with minor thirds. The woodwinds and strings are considered as pairs in balance with each other and with the piano.Unbroken Circle was first performed in June 1984 during the Bath Festival by the London Sinfonietta conducted by Diego Masson.Set of parts. Duration c. 5mins. This is a special item which is made to order. Please e-mail our Mail Order Department for further information.