Magne Hegdal

Picture: MIC/Lisbeth Risnes

Magne Hegdal made his public debut as a pianist in 1969. He studied composition with Conrad Baden and Finn Mortensen receiving his degree in 1972. Hegdal has taught at the State Academy of Music and has written and lectured extensively. For several years he was the principal music critic in the newspaper Dagbladet.

During the 70’s Hegdal’s music was characterised by aleatoric principles. His composition technique dealt with procedures for chance operations, the actual music being the result of these operations. The music aimed at unpredictability within the boundaries created by the composer. Later Hegdal’s style of composition has developed towards a greater stylistic openness and a more varied and direct expression, but he is still concerned with the balancing of chance and order in his music.

In addition to piano music he has also written chamber and orchestral music. His works incorporating voice have been among his most frequently performed. He has received the distinction “Work of the Year” by the Society of Norwegian Composers four times, most recently in 1996. In 2002 he received the significant Lindeman Prize.

Variation without a Theme

The work tries to strike a balance between personal expression and chance: on one hand logically formed and directly felt music, and on the other music which due to constructions or chance operations is unpredictable and outside of the direct control of the composer. The work is composed in several (nine) short "movements" of different character. This form may resemble a traditional set of variations, but the sections are independent pieces with no strong thematic relationship and without a logical order. They are, however, connected by transition passages, which contain variations on elements from the "movements" (but not from the ones which they connect). The result is a complex pattern of references, almost like a labyrinth, or like a path where you come across unexpected new situations, but are also reminded of something you have encountered earlier; and even may have precognitions of things to come.

Concerning composing chamber or orchestral music: To me it is no principal difference, because my focus is on structure and form, and not on timbre, colour, instrumental possibilities etc. Although I have many very different ways of composing (different techniques, and attitudes towards "creating" - from free expression to "receiving" the music through construction or chance operations), this is independent in relation to the medium. The instrumentation is sometimes integrated in the structure - but the situation is basically the same when I write for orchestra or for only a few instruments.

Magne Hegdal

www.ballade.no/mic.nsf