SEGERSTAM, L.: Symphonies Nos. 81, 162 and 181 (Bergen Philharmonic) | ClassicsOnline Classical Music CD mp3 downloads | Free preview streaming

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ClassicsOnline Home » SEGERSTAM, L.: Symphonies Nos. 81, 162 and 181 (Bergen Philharmonic)

		Work/Track Title			Time		USD Price		MP3 Tracks
		SEGERSTAM, L.: Symphonies Nos. 81, 162 and 181 (Bergen Philharmonic)			1:11:09

Symphony No. 81, "After Eighty…"

25:26

album only

Symphony No. 162, "Doubling the Number for Bergen!"

23:08

album only

Symphony No. 181, "Names itself when played…"

22:35

album only

Total Selected Album Items ( 0 ) Sub-Total Amount ( 0 )

Users' Reviews

By NH100270
24-Sep-2012

Castles in the air

Like a mystical Father Christmas, Leif Segerstam welcomes you to his puzzle-box soundscape where obscure animals fidget and eerie trees creak, where rainbows ripple like ribbons in the wind and the Moon plays billiards with the Earth and the Sun.

Here are three symphonies - No. 81 After Eighty, No. 162 Doubling the Number for Bergen!, and No. 181 Names Itself when Played - and how to describe them?... Well, they certainly have a hypnotic quality, which is produced by the seemingly unstructured method of composition. I suspect some listeners will find this kind of free-spirited orchestral flow intolerable; but some, like me, will enjoy falling into this swirling portal now and again to absorb the musical visions of a nomad soul.
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Published Reviews

By Rob Barnett
MusicWeb International
13-Apr-2012

this CD Segerstam is breathtakingly productive…I would characterise him as a dreamy Webernian melodist. Webern because of his use of small motes and units of music. Dreamy because his music adopts a sort of misty rhapsodising style. It’s the feeling one encounters in the presence of a work such as Ned Rorem’s Lions for orchestra—a work with which I was recently united through the kindness of one of the readers of MWI. Melodist because the cells, specks and atoms that make up Segerstam’s building blocks are tonal. There is a warmth about the music and about its instinctive progress. The piano plays a forward role in No. 81. It is a work of surging optimism and welling upheaval. This is played like a slowly turning miasmic cloud system moving

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By Allen Gimbel
American Record Guide
01-Jul-2011

Leif Segerstam is better known as a conductor than as a composer. It might seem from the heading that he is very active on that front, but in reality many of these symphonies rely on active decision-making by performers, and not every detail is notated. These works are intended to investigate the inherent creativity of orchestral musicians, thus notice that the Bergen Philharmonic is performing here without a conductor, in a state of blissful liberation.

It is impossible to know precisely what the boundaries are for these pieces. We do not know what the players are given, or what instructions they are following. Sometimes gestures are explosive blobs of tossed harmonies. Sometimes it’s impossible to tell that there is improvisation involved at all (like the

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