Trackimage | Playbut | Trackname | Playbut | Trackname |
---|---|---|---|---|
82509261 | Play | Punschens visa | 00:00 Tools | |
82509257 | Play | Vier Galgenlieder, Op.51B - Tapetenblume | 00:00 Tools | |
82509272 | Play | Bim Bam Bum, Op. 80: No. 1. Bim Bam Bum (Bim Bam Boom) | 00:00 Tools | |
82509258 | Play | Vier Galgenlieder, Op.51B - Unter Zeiten | 00:00 Tools | |
82509259 | Play | Vier Galgenlieder, Op.51B - Das Grosse Lalula | 00:00 Tools | |
82509260 | Play | Vier Galgenlieder, Op.51B - Igel Und Agel | 00:00 Tools | |
82509262 | Play | Lapponia: I. Südatalv | 00:00 Tools | |
82509273 | Play | Vier Galgenlieder, Op.51b (1960): III. Tapetenblume | 00:00 Tools | |
82509275 | Play | Vier Galgenlieder, Op.51b (1960): I. Das grosse Lalula | 00:00 Tools | |
82509263 | Play | Lapponia: II. Joig | 00:00 Tools | |
82509264 | Play | Lapponia: III. Jaaniöö | 00:00 Tools | |
82509315 | Play | Vier Galgenlieder, Op.51b (1960): II. Igel und Agel | 00:00 Tools | |
82509294 | Play | Vier Galgenlieder, Op.51b (1960): IV. Unter Zeiten | 00:00 Tools | |
82509265 | Play | Lapponia: IV. Torm mägedes | 00:00 Tools | |
82509266 | Play | etwas rascher, Op. 108 | 00:00 Tools | |
82509267 | Play | Energien, Op. 66 | 00:00 Tools | |
82509268 | Play | Vier Galgenlieder Op. 51b (Part 1) | 00:00 Tools | |
82509270 | Play | Vier Galgenlieder Op. 51b (Part 4) | 00:00 Tools | |
82509269 | Play | Vier Galgenlieder Op. 51b (Part 2) | 00:00 Tools | |
82509271 | Play | Midnight, Op. 83 | 00:00 Tools | |
82509274 | Play | Vier Galgenlieder Op. 51b (Part 3) | 00:00 Tools | |
82509281 | Play | 3 Fantasias, op.42, for clarinet and piano: Moderato grottescamente | 00:00 Tools | |
82509278 | Play | Hathor suite on ancient Egyptian texts for soprano, baritone and chorus: II | 00:00 Tools | |
82509279 | Play | Hathor suite on ancient Egyptian texts for soprano, baritone and chorus: I | 00:00 Tools | |
82509280 | Play | Dreams for soprano and chamber choir: I | 00:00 Tools | |
82509283 | Play | Samothrake for chamber choir and ensemble | 00:00 Tools | |
82509290 | Play | 3 Fantasias, op.42, for clarinet and piano: Comodo e poco rubato | 00:00 Tools | |
82509285 | Play | Hathor suite on ancient Egyptian texts for soprano, baritone and chorus: III | 00:00 Tools | |
82509291 | Play | String quartet, op.98: I | 00:00 Tools | |
82509287 | Play | Hathor suite on ancient Egyptian texts for soprano, baritone and chorus: V | 00:00 Tools | |
82509289 | Play | Hathor suite on ancient Egyptian texts for soprano, baritone and chorus: IV | 00:00 Tools | |
82509288 | Play | Dreams for soprano and chamber choir: III | 00:00 Tools | |
82509276 | Play | Vaggvisa (1950) [Lullaby] | 00:00 Tools | |
82509277 | Play | No. 1. Moderato grottescamente | 00:00 Tools | |
82509292 | Play | Dreams for soprano and chamber choir: II | 00:00 Tools | |
82509282 | Play | Si drommaren kommer dar (See the Dreamer Coming There), Op. 21, No. 1 | 00:00 Tools | |
82509299 | Play | 3 Fantasias, op.42, for clarinet and piano: Adagio elegiaco | 00:00 Tools | |
82509297 | Play | String quartet, op.98: III | 00:00 Tools | |
82509296 | Play | String quartet, op.98: IV | 00:00 Tools | |
82509300 | Play | String quartet, op.98: II | 00:00 Tools | |
82509298 | Play | Birds in the Morning, op.89, for flute and orchestra: I | 00:00 Tools | |
82509284 | Play | I. — | 00:00 Tools | |
82509286 | Play | No. 3. Comodo e poco rubato | 00:00 Tools | |
82509293 | Play | Lapponia | 00:00 Tools | |
82509304 | Play | Guitar Suite, Op. 32: I. Fantasia | 00:00 Tools | |
82509303 | Play | Colori ed improvvisazioni, op.72, for orchestra: I | 00:00 Tools | |
82509302 | Play | Noa, op.78, for baritone, orchestra and chorus | 00:00 Tools | |
82509295 | Play | Paradisdag, Op. 22-1 (1946) [A Day In Paradise] | 00:00 Tools | |
82509301 | Play | Serenade, Op.35 No.1 | 00:00 Tools | |
82509305 | Play | Colori ed improvvisazioni, op.72, for orchestra: II | 00:00 Tools | |
82509308 | Play | Birds in the Morning, op.89, for flute and orchestra: II | 00:00 Tools | |
82509309 | Play | Birds in the Morning, op.89, for flute and orchestra: III | 00:00 Tools | |
82509310 | Play | Aubade, op.48, for orchestra | 00:00 Tools | |
82509307 | Play | Colori ed improvvisazioni, op.72, for orchestra: III | 00:00 Tools | |
88563340 | Play | Guitar Suite, Op. 32: III. Toccata | 00:00 Tools | |
82509314 | Play | Petrarca Suite, Op. 118: I. S'amor non è | 00:00 Tools | |
90234210 | Play | Bergman : Energien | 00:00 Tools | |
88563341 | Play | Bergman : Bim Bam Bum Op.80 : I Bim Bam Bum [Bim Bam Boom : Bim Bam Boom] | 00:00 Tools | |
90234211 | Play | Bergman : Aubade Op.48 | 00:00 Tools | |
90234212 | Play | Guitar Suite, Op. 32: II. Canzonetta | 00:00 Tools | |
82509306 | Play | No. 2. Adagio elegiaco | 00:00 Tools | |
82509311 | Play | Jantblig (A Maid´s Glance), Op. 21, No. 3 | 00:00 Tools | |
88563339 | Play | Dreams, Op. 85: III. Restlessness | 00:00 Tools | |
90234213 | Play | Dreams, Op. 85: I. Echoes | 00:00 Tools | |
90234214 | Play | Paradisdag, Op. 22/1 - 1946 A Day in Paradise | 00:00 Tools | |
90234215 | Play | Bergman : Neljä vokaliisia Op.100 : IV [Four Vocalises : IV] | 00:00 Tools | |
82509312 | Play | III. — | 00:00 Tools | |
82509313 | Play | II. — | 00:00 Tools | |
90234216 | Play | Det sjungande tradet (The Singing Tree), Op. 110: I. Prologue: The Tree of Life stands at the center, its roots encircling the prince Hatt's lair, its crown reflecting all the wonder of life (Prince Hatt, Witch) | 00:00 Tools | |
90234217 | Play | Danze senza nomine, Op. 13: No. 2. Andante orgoglioso, ma con grazia | 00:00 Tools |
Erik Valdemar Bergman (November 24, 1911 – April 24, 2006) was an influential composer of classical music from Finland. Bergman's style ranged widely, from Romanticism in his early works (many of which he later prohibited from being performed) to modernism and primitivism, among other genres. He won the Nordic Council Music Prize in 1994 for his opera "Det sjungande trädet". Bergman studied at the Sibelius academy in Helsinki and afterwards with Heinz Tiessen in Berlin and with Wladimir Vogel in Ascona. Since 1963 he has taught composition at the Sibelius academy, besides working until 1978 as a choir conductor. Bergman was considered as a pioneer of the modern music in Finland. Because of his training he was considered as a representative of the avant-garde; he developed for example the twelve-tone techniques of Arnold Schönberg learned from Vladimir Vogel. He composed song cycles, cantatas, a violin concerto, pieces for piano and for organ, a guitar suite, a chamber concert for flute, clarinet, bass clarinet, violin, viola, cello, percussion and piano and further chamber works. His “Requiem for a dead poet” (1970) and “Colori ed improvvisazioni” for orchestras (1973) gave him international recognition. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.