Biography

Carl Michael Bergerheim was born on New Year’s Eve in Gothenburg but grew up in the east side of Värmland, where a rich music life flourished. After his studies at Geijerskolan in Ransäter, Värmland, he moved to Stockholm to study at The Royal Music Academy.

Since then, he has lived and worked in that part of the country, except studies at Berkley College of Music in America and Guildhall School of Music and Drama in England. During these years, he has been working as a church musician as well as on his own compositions. The University City of Uppsala is where he has now resided for a few years.

”My music roots reach into many genres such as classical, gospel, jazz and Latin American music. However, over the last 15 years, I have placed the greatest emphasis on the artistic style of my compositions. Sometimes with influences from other music traditions, such as the theatrical musical world, as you might hint in the oratorio, The Prophet and the Evangelist, the double CD Light & Art Music and the suite Human Beings-Live! Although the tonal language always has to be experienced as a whole and integrated, this is very important to me.”

Education (A selection)
Degree of Master of Music in Composition, Guildhall School of Music and Drama, London England 2001-02

Conducting Course in chamber music and orchestra, Uppsala summer of 1997

Berklee College of Music, Boston USA 1982-84

Educational Degree for church cantors, Stockholm 1982

Arrangement Program, the Royal College of Music, Stockholm 19977-79

Church Cantors Degree, Gothenburg 1976

Geijerskolan College in Rans?r (A miniature church musical institute) 1974-76

Scholarships
Swedish Musicians Society Scholarship, for studies in London 2001

Kristinehamns Culture Scholarship, 1982

My musical journey
I got into music relatively late in life, when I was around 13-14 years old. I was living in my hometown of Kristinehamn where a rich musical liveliness was flourishing at the time, especially for youth. The trumpet was my first primary instrument, but my interest for the piano took over. My fascination for chords and harmonies, with their sophisticated rich and clinging world flourished. Piano opened a natural and exciting way for me to compose and arrange my own music. Local bands and music schools where of course also a natural growing place.

All kinds of music was appreciated in my family, from jazz and popular music, to different types of classical and art music. My dad was a school cantor and even a little of a ?wing pianist? That naturally contributed to a wide musical variety at home. A decisive turning point for me was when I was 15 years old. While on a summer course in improvisation with Carl-Axel and Monica Dominique at Bolln?College, I was probably the youngest and least experienced participant and maybe didn’t understand to well what was being taught about improvisation scales and chords, to start with. Undeterred I arrived home and went through all my notes and the material in peace and quiet. I discovered that I had been handed a treasure chest full of ?olden tools?to compose music with. Not just to improvise but also for… why not… compose! I was no doubt the participant who got the most out of that course!

After a few years I started taking lessons on playing the church organ. That in turn led to Geijerskolan in Rans?r, in the heart of V?land. A few years after that, I got my cantors degree.

After studies at the Royal Acedemy in Stockolm, during the first 10-15 years I contributed to all kinds of musical connections such as jazz and salsa bands like Hot Salsa. I wrote a lot of arrangements, several youth musicals and some choir pieces by order. But after a few years I was longing to go deeper with my arranging, compositions and piano playing. Therefore I went to Berklee College of Music in Boston, USA, and studied there for 5 terms. I also studied ?ine writing?under Herb Pomeroy, who might be the best teacher I’ve ever had. He taught certain arrangement and composition techniques that you could develop into something very personal. Most of the music and teachings was based on jazz but also classical music. Those were very informative and educating years!

Back in Sweden I made, together with Don Pancho Chin A Loi, my co-leader, Tekash-The Afro Latin Big Band (16 musicians and singers) with some of the most renowned musicians in Stockholm: Hector Bingert saxophones, Olle Holmquist trombone, Jan Kohlin trumpet, Rafael Sida percussion among others. We took part of several live programs and recordings at Radio Sweden and other concerts around the nation.

Carl Michael Bergerheim

Philosophy and Vision

Good, genuine and well written music that feels meaningful and fun to perform, leads to good commitment and execution from singers and musicians. That in itself leads to a positive experience and a good response from the audience. This is my leading star!

It is maybe only a few years ago that I found what I consider to be ?y music? in my composing, which sometimes is of completely art musical character and sometimes a sort of acoustic synthesis of jazz, musical, classical and Latin American music. Some of my pieces and projects merge these two ways of composing.

Although my music is not a so called crossover where two or more music styles are played against each other! It’s much more intertwined than that. It is very important for me that the tonal language feels natural and integrates well for the listener.

I have always had a passion to write good and interesting music that I feel concert row music lacks. I see the need of it especially when artists and orchestras in classical contexts put together a show of ?ight’?haracter . There really needs to be more unique music that isn’t either art- or popular music performed by the very best musicians and singers, nationally and internationally.
(See ?igger scores and projects?Human Beings-Live! and The Prophet and the Evangelist)

Enriching thoughts and ideas
To touch the audience (and the artists) spirit, body and soul, which creates a total experience, I think is a yearning that is found both within me and a large audience.

I believe that it is possible to reach a sophisticated concert audience and even a more ?eneral?audience at the same occasion! Without having to compromise all the artistic quality and honesty. To be able to ?ell?this to most people it would be very unchallenging for the listener and be very bland and boring. Although that depends a lot on how you go about putting a concert together. I have already tried and experienced that with my own music in several different occasions.

At the same time I think that in the society of tomorrow there will be a thirst for more live performances. The appreciation of ?he now?and the interaction between living humans will probably grow stronger.

Seriousness and humour are two important counterpoints in my compositions. If you achieve a good balance of the two in a concert, it creates a harmonious atmosphere which is neither to heavy or shallow.

To see adults, youth and children creating something new, strong, humorous and beautiful together on stage is a driving force for me. I believe that experiences like that are healthy and enriching for both the artists and the audience.

Although I know that some of my music demands a more trained ear and a more experienced audience when it comes to art music with its foundation in classical music.

My conviction is still that my synthetic music and some of my art music is reaching and will reach an even broader audience, maybe even several age groups at once. But to build a large castle takes time… this is what I want to realise in a bigger and smaller scale with ?uman Beings Live!?(see ?igger scores and projects?)

Carl Michael Bergerheim

Compositions

See also the CMB Score Store to watch scores and listen to the music.

CHORAL MUSIC
Låt oss jubla! (A Biblical suite with Swedish text from Psalm 118 in Swedish, also available in English. For mixed choir and organ, with optional instruments: trumpet and percussion.)
Herrens hand
Öppna för mig
Låt oss jubla!

Let us Rejoice! (A Biblical suite with text from Psalm 118 in English, also available in Swedish. For mixed choir and organ, with optional instruments: trumpet and percussion.)
The Lord’s Right Hand
Open for Me
Let us Rejoice!

Alleluja, Amen! (W.A. Mozart’s theme joyfully developed, for mixed choir and piano.)

The Wellspring of Life (Text from Proverbs chapter 4, in a setting for mixed choir, violoncello, piano and optional doublebass.)
Shalom (Biblical text and words in Hebrew, English and Swedish, for mixed choir, violoncello and piano.

The Wind Blows Wherever it Pleases (Text from The Old and New Testament. For mixed choir, violoncello, piano and optional doublebass.)

Sanctus (Text in Latin, for mixed choir and piano.)

Like as the Waves (A setting of William Shakespeare’s Sonnet no. 60 For mixed choir and piano (Available in English, German and Swedish, see below.)

Wie Wogen (See above.)

Likt vågor (See above.)

Scarborough Fair (An arrangement of an English folk song, for mixed choir, flute (or oboe, accordion, violin or optional instrument) and harp or piano.)

SUITES
Sex sånger ur ”Profeten & Evangelisten” (From the oratorio ”Profeten & Evangelisten”, see below. Text and lyrics in Swedish. (Soon available in English as well.) This is a shorter and smaller version, arranged for mixed choir, without tenor and baritone soli. With a 5-piece instrumental ensemble, without percussion. Reciter optional.

Intrada
Helig
Koral 1, Livets ljus är av evighet, vers 1-2
Ty ett barn har fötts
Koral 2, Livets ljus är av evighet, vers 3-4
Saliga
Final och Koral 3, Livets ljus är av evighet, vers 5-6

Den blå sången En svit om evighet och enighet, (Lyrics and text in Swedish by Lars Westberg. Written for a reciter, soprano and baritone soli, mixed choir and an 11-piece instrumental ensemble. At the moment, the composer and the lyricist are revising the texts, lyrics and the score.
The Blue Song A Suite about Eternity and Unity, (See above, ”Den blåa sången”. The creators plan to release an English version of the suite.

ORATORIO
Profeten & Evangelisten (Text from the book of Isaiah and the gospel of Matthew, and lyrics in Swedish by Peter Carlsson. For reciter, tenor and baritone soli, mixed choir, treble chorus and a 7-piece instrumental ensemble. See

The composer plans to release an English version of the oratorio.
Intrada Helig
Johannes Döparen
Koral I Livets ljus är av evighet v.1-2
Ty ett barn har fötts
Saliga, Koral II Livets ljus är av evighet v. 3-4 Den lidande tjänaren
Det kommande fridsriket
Löfteslandet
Final – Koral III Livets ljus är av evighet v. 5-6

PERFORMANCES
Land of Hope, this big production and recording was released on Spotify and a CD in September 2025. It was recorded in Sweden, Norway and in Prague with the Czech National Symphony Orchestra. 7 songs by Ruth Iren Holand, singer & songwriter, and 3 songs and pieces by Carl Michael Bergerheim, producer, arranger and co-composer.

Separate songs and pieces, arranged for solists, mixed choir and a sinfonietta with a rhythm section. The lyrics and texts are in English. Scores and vocal scores will be available for sale later, in the middle of 2026. So-called ”stems”, recordings with just the instruments, will probably be available for performances with soloists, choirs and optional instruments.
Land of Hope
God of Hope
Door of Hope
A God Full of Mercy
Take Care of My Heart
Tune Me
You
Deliver Me
Abundantly, Available
What is Worship?
Epilogue

A COMING PERFORMANCE
The Dramatic Suite ”HUMAN BEINGS LIVE!” A serious, humorous and virtuoso performance for an 8-12-piece vocal ensemble and soloists. (All lyrics are in English.) Together with a 9-piece instrumental ensemble/band. Duration ca: 1 hour and 30 min.

Most of the scores and vocal scores are not for sale. However, the vocal scores will be available for singers who wish to audition at the beginning of 2026. There will be concerts and performances in 2026 with the songs and pieces.

MUSICALS
Dagen det regnade färger (Text and lyrics are in Swedish. For a children’s choir, soloists with an instrumental ensemble. It will soon be available in a new updated version with a mixed choir added.

The Day it Rained Colors, (See above, ”Dagen det regnade färger”.) The composer has plans to release a new, updated version, and in English as well.)
KEEN GREEN (Text and lyrics in Swedish. Written for children’s choir, mixed choir, soloists and an instrumental ensemble. The musical has been performed in two versions: 1) A full version and performance. 2) A concert version with a narrator. There is no release date at the moment.

SOLO SONGS
Mountains, a vocalise for soprano, violoncello & piano.

The Wind Blows Wherever it Pleases, for soprano, violoncello and piano.

The Streetcafé, a kind of humorous piece for soprano, violoncello and piano.

Alleluja, Amen! W.A. Mozart’s theme joyfully developed for soprano, violoncello and piano.

A Remarkable Woman, a story for soprano, violoncello and piano.

An Die Musik, same lyrics as Franz Schubert used, in a setting for baritone or mezzosoprano and piano.

Words of Wisdom, A song cycle with a dramatic musical language with text from Proverbs and Ecclesiastes, in a setting for soprano and piano.
Light is Sweet
How Long
Tree of Life

DUETS
Three Poems by Andrew Motion, a setting for soprano, baritone and piano.

What Language to Speak
Change the Channel
The Roof over our heads

Johannes döparen. From the oratorio ”Profeten & Evangelisten”, Swedish text from the Gospel of Matthew. Here is a setting and arrangement for soprano and baritone soli, violin, violoncello and piano.

INSTRUMENTAL PIECES
What is Worship? An instrumental piece, based on a poem. A composition for reciter and a small symphonic ensemble. (See Land of Hope,)

Eurango Tango, a joyful and virtuoso composition for violin, violoncello and piano.

Summer’s Day, for piano, violoncello and accordion/clarinet.

Behind the Darkness, a slow and thoughtful piece for violoncello and piano.

Melodies and Lullabies, 10 pieces for piano from the album (released on the label CMB Productions, and available on Spotify).