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Finnish Radio Symphony Orchestra, Helsinki Chamber Choir, Ondine ODE 1157-2 .. GRAFFITI is Lindberg’s first work for chorus and orchestra. As the title makes clear, this is a setting of ancient Roman graffiti discovered on the walls of Pompeii. These fragments deal with all sorts of things such as insults, slogans, advertisements and even what looks like a shopping list of some sort. Sex, too, is not absent, be it often in rather crude words. These fragments as compiled and arranged by the compo
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GRAFFITI is Lindberg’s first work for chorus and orchestra. As the
title makes clear, this is a setting of ancient Roman graffiti
discovered on the walls of Pompeii. These fragments deal with all
sorts of things such as insults, slogans, advertisements and even what
looks like a shopping list of some sort. Sex, too, is not absent, be
it often in rather crude words. These fragments as compiled and
arranged by the composer do not suggest any real narrative. The
somewhat random order of these fragments rather suggests the vision of
a visitor going around Pompeii’s ruins and having a look at these
graffiti in passing. This may be the strength of the work because it
leaves the composer free hand to handle and develop his material. It
may also be its relative weakness because the absence of true
narrative excludes any sense of logic; but were these graffiti
logical? The music is generally simpler than in other works by
Lindberg. It tends towards achieving archaic character by having
recourse to modal writing often clashing with more chromatic
orchestral passages. The music also evokes composers whom one might
not have associated with Lindberg: R
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