Leif Segerstam

Composers

Biography

Born: Mar 2, 1944; Finland  
Leif Segerstam is primarily known as a conductor, generally ranked among the most prominent from Finland in the latter twentieth and early twenty first centuries. But he is also a composer with a massive output, making the cataloging of his music difficult. For instance, by summer 2002, he had written 81 symphonies, 18 of them having been composed or completed in that year alone. Yet that seemingly enormous body of music is not quite what it Read more seems, since he typically writes the same piece in different scorings, using aleatoric methods involving less-complex and less-specific notation. Still, his output contains countless orchestral and choral works, concertos, songs, string quartets, and instrumental pieces.
Segerstam entered the Sibelius Academy of Music in Helsinki in his mid-teens, where he studied violin with Liisa Siikonen and conducting with Jussi Jalas. Segerstam was also an excellent pianist then and won first prize in the 1962 Maj Lind Piano Competition, held by the Sibelius Academy. The following year, he graduated with degrees in both violin and conducting and gave his first major concert as a violinist. By then, he had already written his earliest compositions, which included the brief 1960 orchestral work A Legend (Nils-Eric Fougstedt in Memoriam) and Three Songs for Soprano and Piano (1960-1961). Following Segerstam's graduation, he enrolled at the Juilliard School of Music, where he studied violin with Louis Persinger, conducting with Jean Morel, and composition with Vincent Persichetti and Hall Overton. In 1965, he received his first important conducting appointment to the Finnish National Opera as director for the 1973-1974 season. Segerstam held two other conducting posts at opera houses in Scandinavia and Germany, at the Royal Opera in Stockholm from 1968 to 1972, and at the Deutsche Oper in Berlin for a single season (1972-1973). Segerstam turned out many compositions during these early conducting years, including several sring quartets (the Fifth, subtitled "Lemming," was a stylistically pivotal work in his use of aleatory methods) and the song collection Tre plus eller fyra NNNUUUU-R, for mezzo soprano and piano, on texts by Gunnar Björling. Segerstam successively took three conducting posts with second-tier European orchestras in the period from 1977 to 1985 (the Austrian Radio Symphony Orchestra, the Finnish Radio Symphony Orchestra, and the Rhineland-Pfalz State Philharmonic Orchestra). He was appointed chief conductor of the Danish National Radio Symphony Orchestra in 1989, a post that would allow him to record not only many classics in the repertory and modern works, but also some of his own. For the labels BIS, Ondine, and Finlandia, he turned out performances of his symphonies No. 9, No. 11, No. 13, No. 14, No. 16, No. 17, and No. 18, and violin concertos, Op. 33 and 99, with his wife Hannele Segerstam as soloist. Upon his departure from the DNRSO in 1995, he accepted the position of chief conductor for the Helsinki Philharmonic Orchestra and that same year, also returned to Stockholm's Royal Opera, once more as music director. Segerstam still held these two positions in the new century. At the Royal Opera House, Segerstam has conducted a wide range of works. In 2002, for example, he led performances of Wagner's Tristan und Isolde, Prokofiev's The Fiery Angel, and Janácek's The Makropulos Affair. Read less

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Composers

Ensembles

Biography

Born: Mar 2, 1944; Finland  
Leif Segerstam is primarily known as a conductor, generally ranked among the most prominent from Finland in the latter twentieth and early twenty first centuries. But he is also a composer with a massive output, making the cataloging of his music difficult. For instance, by summer 2002, he had written 81 symphonies, 18 of them having been composed or completed in that year alone. Yet that seemingly enormous body of music is not quite what it Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
Theme: Andante grazioso
Variation 1: L'istesso tempo
Variation 2: Poco agitato
Variation 3: Con moto
Variation 4: Vivace
Variation 5: Quasi presto
Variation 6: Sostenuto (quasi adagietto)
Variation 7: Andante grazioso
Variation 8: Molto sostenuto
Fugue: Allegretto grazioso
I. Allegro moderato
II. Largo con gran espressione
III. Allegretto con spirito
I. Praludium
II. Largo
III. Fuge
Theme: Andante
Variation 1: Un poco piu lento
Variation 2: Appassionato
Variation 3: Andantino grazioso
Variation 4: Vivace
Variation 5: Andante sostenuto
Variation 6: Allegretto con grazia
Variation 7: Poco vivace
Variation 8: Allegro pomposo
Fugue: Con spirito (non troppo allegro)
I. Entree
II. Colombine
III. Harlequin
IV. Pierrot und Pierette
V. Valse d'amour
VI. Finale
No. 1. Der geigende Eremit (The Fiddling Hermit)
No. 2. Im Spiel der Wellen (Waves at Play)
No. 3. Die Toteninsel (The Isle of the Dead)
No. 4. Bacchanal
I. Allegro non troppo e molto maestoso
II. Andantino simplice
III. Allegro con fuoco
I. Allegro molto moderato
II. Adagio
III. Allegro moderato molto e marcato
I. The Bog
II. Melancholy
III. Swans Migrating
I. Senza tempo
II. Allegretto
III. Lento
IV. Lento
Introduction to V. Sanctus: Andante
V. Andante
VI. Agnus Dei: Andante
I. Introduction: Allegro moderato
II. Kullervo's Youth: Grave
III. Kullervo and his Sister: Allegro vivace
IV. Kullervo Goes to War: Alla marcia (Allegro molto) - Vivace - Presto
V. Kullervo's Death: Andante
I. Daydreams
II. Nightmares
III. Dawn
I. Langsom, breit, ruhig
II. Langsam, doch nich schleppend
III. Sehr schnell
IV. Bewegt
I. Allegro moderato
II. Adagio di molto
III. Allegro ma non tanto
I. Allegretto
II. Tempo Andante, ma rubato
III. Vivacissimo
IV. Finale: Allegro moderato
I. Suo (The Marsh)
II. Melankolia (Melancholy)
III. Joutsenet muuttavat (Swans Migrating)
I. Kraftig - Entschieden
II. Tempo di menuetto. Sehr massig
III. Comodo. Scherzando. Ohne Hast
IV. Sehr langsam. Misterioso
V. Lustig im Tempo und keck im Ausdruck
VI. Langsam. Ruhevoll. Empfunden
Part I, Veni, creator spiritus: Veni, creator spiritus
Part I, Veni, creator spiritus: Infirma nostri corporis
Part II, Final Scene from Faust: Poco adagio
Part II, Final Scene from Faust: Waldung, sie schwankt heran
Part II, Final Scene from Faust: Ewiger Wonnebrand
Part II, Final Scene from Faust: Wie Felsenabgrund mir zu Fussen
Part II, Final Scene from Faust: Gerettet ist das edle Glied
Part II, Final Scene from Faust: Uns bleibt ein Erdenrest
Part II, Final Scene from Faust: Hochste Herrscherin der Welt!
Part II, Final Scene from Faust: Dir, der Unberuhrbaren
Part II, Final Scene from Faust: Bei der Liebe, die den Fussen
Part II, Final Scene from Faust: Neige, neige, du Ohnegleiche
Part II, Final Scene from Faust: Blicket auf zum Retterblick, alle reuig Zarten
Part II, Final Scene from Faust: Alles Vergangliche ist nur ein Gleichnis
I. Pesante, moderato
II. Largo
III. Allegro vivace
IV. Largo
Act I: Prelude
Act I Scene 1: Westwarts schweift der Blick (A Young Sailor, Isolde, Brangane)
Act I Scene 2: Frisch weht der Wind (A Young Sailor, Isolde, Brangane, Tristan, Kurwenal, Sailors)
Act I Scene 2: Hab' acht, Tristan! (Kurwenal, Isolde, Brangane, Tristan, Sailors)
Act I Scene 3: Weh, ach wehe! (Brangane, Isolde)
Act I Scene 3: O Wunder! Wo hatt' ich die Augen? (Brangane, Tristan)
Act I Scene 3: O Susse, Traute! (Brangane, Isolde)
Act I Scene 3: Kennst du der Mutter (Brangane, Isolde)
Act I Scene 4: Auf! Auf! Ihr Frauen! (Kurwenal, Isolde, Brangane)
Act I Scene 5: Begehrt, Herrin (Tristan, Isolde)
Act II Scene 2: Doch unsre Liebe (Isolde, Brangane, Tristan)
Act II Scene 2: Soll ich lauschen? (Tristan, Isolde)
Act II Scene 3: Rette dich, Tristan! (Kurwenal, Tristan, Melot)
Act II Scene 3: O Konig, das kann ich dir nicht sagen (Tristan, Isolde)
Act II Scene 3: Verrater! Ha! (Melot, Tristan, Kurwenal)
I. Tempo molto moderato, quasi adagio
II. Allegro molto vivace
III. Il tempo largo
IV. Allegro
I. Drammatico ma flessibile
II. Adagio assai
III. Vivace
I. The Bog
II. Melancholy
III. Swans Migrating
I. Allegro moderato
II. Andantino con moto, quasi allegretto
III. Moderato - Allegro (ma non tanto)
I. Tempo molto moderato - Allegro moderato
II. Andante mosso, quasi allegretto
III. Allegro molto - Largamente assai
I. -
II. -
III. -
I. Barcarola
II. Toccata
I. Langsam - Allegro con fuoco
II. Nachtmusik: Allegro moderato
III. Scherzo: Schattenhaft
IV. Nachtmusik: Andante amoroso
V. Rondo - Finale
I. Andante comodo
II. Im Tempo eines gemachlichen Landlers - Etwas tappisch und sehr derb
III. Rondo-Burleske: Allegro assai
IV. Adagio
I. Allegretto
II. Tempo andante, ma rubato
III. Vivacissimo
IV. Finale: Allegro moderato
I. Allegro molto moderato
II. Allegretto moderato
III. Poco vivace
IV. Allegro molto
I. Intermezzo: Moderato
II. Ballade: Tempo di menuetto
III. Alla marcia: Moderato
I. Presto jubilante - Triste - Furioso fantastico
II. Tranquillo molto
III. Scherzando prestissimo
IV. Maschera funerale
I. Andante, ma non troppo - Allegro energico
II. Andante (ma non troppo lento)
III. Scherzo: Allegro
IV. Finale (quasi una Fantasia): Andante - Allegro molto
Act I Scene 1: The Captain's room
Act I Scene 2: Open field outside the town
Act I Scene 3: Marie's room
Act I Scene 4: The Doctor's study
Act I Scene 5: Street in front of Marie's door
Act II, Introduction
Act II Scene 1: Marie's room
Act II Scene 2: Street in town
Act II Scene 3: Street in front of Marie's door
Act II Scene 4: Tavern Garden
Act II Scene 5: Guardroom in the barracks
Act III Scene 1: Marie's room
Act III Scene 2: Forest path by a pool
Act III Scene 3: Tavern
Act III Scene 4: Forest path by a pool
Act III Scene 5: Street in front of Marie's door
I. Pesante
II. Adagietto
III. Solenne
I. Adagio assai
II. Feroce
III. Tranquillo
IV. Con grandezza
I. Con grandezza
II. Andante
III. Molto vivace
I. First Part
II. Second Part


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