Fixed yet Fleeting: the Creation of Organ Music in the 20th and 21st Centuries September 5-8, 2013

Introducing the 2013 Academy

Kimberly MarshallThe twentieth century brought a spirit of innovation to organ building, and composers were inspired to seek out new approaches to the instrument. The most revolutionary new technology was sound recording. For the first time in history, the fleeting sounds produced by musicians could be fixed for future playback. Thus organs, improvisations and interpretations of repertoire became documents of performance practice traditions.

At the Göteborg International Organ Academy 2013, we will explore many facets of twentieth- and twenty-first-century organ music, with special emphasis on sound recordings. Concerts of modern repertoire will feature improvisations and the incorporation of recordings, including an experimental program by the duo Zeelab. Kimberly Marshall will present a concert demonstrating innovation in composing for the organ from the fifteenth to twenty-first centuries; Henrico Stewen will perform Reger, demonstrating his insights into this composer; Martin Herchenröder has devised a program of twentieth- and twenty-first-century music including Ligeti’s Volumina, to be performed on one of the organs where it was first presented; Ilona Kubiaczyk-Adler will demonstrate the cross influences between minimalism, jazz and the symphonic tradition; and Frédéric Blanc will recreate music from twentieth-century France through recording and improvisation.

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List of the Academy Concerts

We know that there are a few of you out there who wants to come to the concerts but not the academy itself. Here is a list of all the concerts that are open to everyone. Remember to bring a friend too, because these concerts are going to be wonderful.

Thursday, September 13th

Artisten – 13:00
Opening & Lunch Concert
– Joel Speerstra will be playing works by Georg Böhm on the clavichord, harpsichord and the Bjurum organ at Artisten. Free admission.

Örgryte New Church – 20:30
Organ Concert – Bine Katrine Bryndorf will be playing works by Heinrich Scheidemann, Dieterich Buxtehude and Nicolaus Bruhns on the North German Baroque Organ. Admission to this concert is 120 SEK for adults and 80 SEK for students and already included in your ticket if you have day pass for this day, or a full academy pass. 

Friday, September 14th

Haga Church – 13:30
Lunch Concert – Ulrike Heider will be playing works by Franz Tunder, Dieterich Buxtehude and Heinrich Scheidemann. Free admission.

Örgryte New Church – 18:00
Lüneburg Vespers – Under the direction of Magnus Kjellson, Göteborg Baroque will be performing Lüneburg Vespers aided by pastor Stefan Hiller with music selection and preparation done by Frederick K. Gable. Free admission.

Örgryte New Church – 21:00
Organ Concert – Pieter Dirksen

Saturday, September 15th

Örgryte New Church – 13:30
Lunch Concert – Karin Nelson. Free admission.

Örgryte New Church – 21:00
Georg Böhm & Choreography – Hans Davidsson playing select organ works by Georg Böhm together with choreography acted by dancers Stayce Camparo and Jonathan Davidsson.

We hope to see you at one or more of the concerts during the academy!

Video About the North German Baroque Organ

Gothic Catalog has made a video talking about the “Schnitger Organ” (which we simply refer to as the North German Baroque Organ) in Örgryte New Church. It has some nice facts and information about the organ, and as an added benefit the audio is Hans Davidsson playing Buxtehude’s Nun lob, mein Seel, den Herren on the organ.

This music is part of Hans’ CD recording of the complete organ works of Buxtehude, made in Örgryte New Chruch.

Don’t Miss the List of Recommended Score Editions and the North German Chorale Fantasias

Did you register early and are an active masterclass participant? Make sure to have a look at our recommended score editions and the list of the North German Chorale Fantasias so that you don’t miss out on anything as an active participant. If you have a question, just leave a comment or contact us.

Score Editions: http://www.organacademy.se/score-editions/
Fantasias: http://www.organacademy.se/north-german-chorale-fantasias/

Small Programme Updates

We have made some small programme updates over the past week where a few sessions have been moved up to half an hour, and one lecture switched with another.

If you have already noted down the schedule in your calendar, make sure you have a look at the updated programme so that you don’t miss anything.

Double Focus: The North German Chorale Fantasias and the Organ Works of Georg Böhm.

This year’s academy has a double focus: The North German Chorale Fantasias and the organ works of Georg Böhm.

The North German Baroque Organ in Örgryte New Church with its four manuals and pedal, subsemi-keys and meantone temperament is the ideal instrument to explore the world of the North German chorale fantasias. The academy offers you a long weekend, where you can experience a substantial number of the choral fantasias: either in concerts, lecture/demonstrations or in Hans Davidsson’s master class.

A keynote lecture by Pieter Dirksen, who is preparing a book about the genre, will provide you with an overview of this important compositional form and update you on the latest research. Bine Katrine Bryndorf will present a lecture/demonstration with some case studies from the perspective of composing music at the keyboard, and Karin Nelson will lecture about Scheidemann’s Magnificat fantasias and compositional techniques. Aspects of performance practice regarding Scheidemann’s choral fantasias will be discussed in Pieter Dirksen’s lecture/demonstration and Joel Speerstra will look at performance practice of chorale fantasias from the rhetorical perspective of acting at the keyboard.

Georg Böhm’s organ music has often remained in the shadow of other North German composers, even though it is very original in its style, of high quality and shows a very rich and diverse palette of forms. An extra opportunity that we can offer is the exploration of Böhm’s compositions in meantone temperament, provided by the Brombaugh organ at Haga Church and the North German Baroque Organ in Örgryte.

Hans Davidsson, who is presently working on a large project focusing on the organ works of Böhm, will teach a master class and in his keynote lecture present an overview of Böhm’s organ compositions (sources, editions, analytical survey). Koos van de Linde will give a lecture about the latest research on Böhm’s organ in Lüneburg, and Ibo Ortgies will talk about the organ as continuo instrument c. 1700 in Northern Germany.

A vespers following the Lüneburg model and with repertoire from Böhm’s time will be performed and Fred Gable will lecture about his findings on the topic. “Georg Böhm at home” will be explored in a concert by Joel Speerstra on clavichord, harpsichord and the 1650-Manderscheidt positive at Artisten: The academy will be concluded with a concert by Hans Davidsson, with (mostly) music by Böhm, as well as poetry and dance, joined by classical dancers Stayce Camparo and Jonathan Davidsson.

Announcing the 2012 Organ Academy

We are proud to announce the 2012 organ academy featuring the North German Choral Fantasias and the organ works of Georg Böhm.

During the academy, you will be able to hear the most major north german choral fantasias as well as learn about the latest research in these fantasias. Among these are the fantasias of Georg Böhm whose work, especially the chorals are of great interest to church musicians.

At the moment, we are currently finalizing the programme and the faculty for the academy, all of which will be available soon.

The Organ Moves Into the Brave New World of the Exhibition (Part 2)

Although the “Great Exhibition” was not the first time an organ or organ parts had been displayed at an exhibition, it was the start of a large series of organ exhibits at world expositions. The “Great Exhibition” had a special section for the organs: “Section II: Machinery” and the instruments and organ parts were categorized under “Class 10: philosophical, musical, horological and surgical instruments.” Apart from three barrel organs by English builders, a specimen of various stops and a special device, eleven organs were displayed; three of them by builders from abroad: France, Germany, and Italy; eight by English builders. Also, a large number of free reed instruments was exhibited. Continue Reading »