The members of the organ academy faculty include top organists and music scholars from around the world, all dedicated and enthusiastic ambassadors for their art. Artistic director in residence: Hans-Ola Ericsson
Hampus Lindwall specializes in 20th century repertoire and is renowned as a creative improviser. He was the last disciple of Rolande Falcinelli and is the Titular Organist in Saint-Esprit, Paris, as was Jeanne Demessieux between 1933 and 1962. Born in a musical family in Stockholm, he was inspired by his older brother to begin playing the electric guitar at a young age and appeared early as a session musician on numerous recordings. Taking a growing interest in classical music, he started to play the piano and organ in his teens and studied at the Royal College of Music in Stockholm with Torvald Torén, Anders Bondeman, and pianist Stella Czajkowski. Under the influence of Rolande Falcinelli, he moved to Paris in 2002 and studied at the Conservatoire de Saint-Maur-des-Fossés and the Conservatoire National Supérieur de Musique in Lyon with Eric Lebrun, Pierre Pincemaille and Loïc Mallié. He won the 1st prizes in the international improvisation competitions ‘Orgel ohne Grenzen, Air Art 2003’ in Saarbrücken, Germany, and the ‘Prix Boellmann-Gigout’, 2004 in Strasbourg, France. Hampus Lindwall’s passion for art, cinema and literature has led to various artistic collaborations, not only with musicians Palle Mikkelborg, Jesper Nordin, Jason Mayer and Massimo Carrozzo, but also with artists such as John Duncan and actress Macha Méril. He gives concerts throughout Europe and in the US.
Hans Fidom is Extraordinary Professor of Organ Musicology at the VU University Amsterdam and musicologist for the Orgelpark in Amsterdam. Hans Fidom studied musicology at the University of Amsterdam and organ musicology at the Free University of Amsterdam, completing his studies at the University of Groningen in 1993. In 2002 he graduated as PhD at the VU University Amsterdam, with the dissertation Diversity in Unity, on socio-musicological aspects of the German organ scene between 1880 and 1918. Hans Fidom is a board member of the Royal Association for Music History of the Netherlands, examiner for the Dutch School for Organ Experts and member of the Dutch College of Organ Experts. He was editor-in-chief of the magazine Het Orgel from 1996 until 2006. From 2000 until 2007 he was member of the International Improvisation Competition Foundation Haarlem. He was vice-president of the Music Committee and member of the later Main Committee of the Art Council Groningen (advisory board of the local government of the city and province of Groningen). Furthermore, he was chief editor of the encyclopaedia Het historische orgel in Nederland. His book on Dutch organs in the early 20th Century is widely recognized as a standard work.
Hans-Ola Ericsson studied composition and organ mainly in Stockholm and Freiburg but later also in the US and in Venice. Most influential among his teachers have been Klaus Huber, Brian Ferneyhough and Luigi Nono. In 1989 Hans-Ola Ericsson was appointed chaired professor in the church music and organ area at the School of Music in Piteå at Luleå University of Technology, Sweden. In 1990 he was instructor at the summer course for new music in Darmstadt and was awarded the prestigious Kranichsteiner Musikpreis. He has held guest professorships in Riga, Copenhagen, Helsinki and Amsterdam, as well as lectured and performed at a large number of leading organ festivals and academic symposia worldwide, persistently campaigning for the quality of new music and its right to be heard. In 1996 Hans-Ola Ericsson was appointed Permanent Guest Professor at the Hochschule für Künste in Bremen, Germany, and in 2011 Professor of Organ at McGill University, Montréal, Canada. Hans-Ola Ericsson has given concerts throughout Europe as well as in Russia, Japan, Korea, the US, and Canada. His numerous recordings include a highly acclaimed complete recording of Olivier Messiaen’s organ music. He has worked extensively with composers such as John Cage, György Ligeti, Bengt Hambraeus, and Olivier Messiaen on the interpretation of their organ works. He frequently serves as jury member in international organ competitions.
During the last decade, a number of compositions by Ericsson have been premiered, among them the organ mass The Four Beasts’ Amen for organ and electronies, Höga visan – en kyrkoopera (Song of Songs – a Church Opera), and Stabat Mater for women’s choir, four clarinets and two percussionists. Besides his artistic and pedagogical activities, Ericsson is deeply involved in different projects of organ restoration or innovative organ building. He took the initiative to build the innovative Woehl organ at Studio Acusticum in Piteå (inaugurated 2012) and directed the project. Hans-Ola Ericsson is a member of the Royal Swedish Academy of Music and received the Swedish Society of Composers interpretation prize in 1999. He has been Principal Guest Organist of the Lahti Organ Festival in Finland (2002–2005) and artistic consultant for the Bodo International Organ Festival in Norway (2005–2011).
Harald Vogel is recognized as a leading authority on the interpretation of German organ music from the Gothic, Renaissance, and the Baroque periods. As the director of the North German Organ Academy, which he founded in 1972, he teaches historical performance practice on the original instruments. Since 1994, he has also held a professorship at the Hochschule für Künste in Bremen. Harald Vogel has led many master classes at conservatories and universities throughout the world, whereby he has influenced innumerable organists and organ builders. As superintendent of church music and organ advisor for the Reformed Church, he is responsible for a large number of historical organs in northwest Germany. As an expert in organ building, he has been a consultant for many organ-building projects, including restorations and new organs. Examples include the organs at Stanford University’s Memorial Church, St. Paul’s in Tokyo, and Gothenburg’s Örgryte New Church.
Among Harald Vogel’s many recordings are those on historical instruments made for Radio Bremen between the year 1961 and 1975. Today, these recordings have particular value as historical documentations. In 1981, he founded the Dollart Festival, the first European festival for early music that crosses national borders. Harald Vogel’s publications include Orgeln in Niedersachsen (Organs in Lower Saxony, Hauschild Verlag, 1997), Orgellandschaft Ostfriesland (The Organ Region of East Frisia, SKN-Verlag, 1996), and Arp Schnitger und sein Werk (together with Cornelius H. Edskes, Hauschild 2009/2013). He has edited Samuel Scheidt’s Tabulatura nova (Breitkopf). In 2008, he received a Honorary Doctorate from Luleå University of Technology.
Joel Speerstra is a Senior Researcher at the Göteborg Organ Art Center and a Lecturer at the Academy of Music and Drama at the University of Gothenburg. He is active as an instrument builder, performer, teacher, and musicologist. He has been a practicing church musician since the age of fifteen and has been giving concerts on historical keyboard instruments since the age of 18, more or less the same time he became fascinated by keyboard instrument building. The bulk of his recent concert-playing has been divided between the organ and the clavichord, often linked directly to a conference, masterclass or summer course. He is a member of the faculty at the Smarano Summer Academy in the Trentino, Italy, and with Per Anders Terning has built more than fifty pedal clavichords, and manual clavichords, for individuals and institutions in Europe, North America, and Asia. He is a recent recipient of the Hilding Rosenberg prize in Musicology from the Royal Swedish Academy of Music.
Ulrika Davidsson is a versatile musician, who maintains a performance career on the piano, fortepiano, clavichord, as well as the harpsichord. She teaches historical keyboard instruments at the Royal Danish Academy of Music, Copenhagen, and at the Academy of Music and Drama, University of Gothenburg, Sweden. From 2007 to 2012 she was Assistant Professor of Historical Keyboards at the Eastman School of Music in Rochester, NY, as well as Music Director of Rochester City Ballet, and the Draper Center for Dance Education in Rochester. Ulrika Davidsson has given concerts throughout Europe, and in the US, Canada, Japan, and South Korea, and has presented recitals and lectures at many international academies and conferences. She has been featured as piano soloist with a number of orchestras in her native Sweden, she has toured with many chamber music ensembles, and has appeared on national television and radio. Dr. Davidsson has graduated from the Eastman School of Music with a Doctor of Musical Arts degree in piano performance and historical keyboards, studying with Barry Snyder, and a Master’s degree in harpsichord performance under the tutelage of William Porter. She also holds a Master of Fine Arts degree in piano performance and pedagogy from the University of Gothenburg where Elisif Lundén-Bergfelt was her teacher; and the Organist and Cantor Diploma from The Royal Academy of Music. In Amsterdam, she studied piano with Willem Brons at the Sweelinck Conservatory. From 1990 to 1999 she served on the faculty of the School of Music, University of Gothenburg. A generous grant from the University of Gothenburg gave her the opportunity to study fortepiano with Malcolm Bilson, and clavichord with Harald Vogel. 2008–2013 she was on the faculty of the Hochschule für Künste Bremen. Her solo CD ‘Haydn Sonatas. Galanterien to Sturm und Drang’ has been released on Loft Recordings. In 2013 she was the recipient of Adlerbertska konststipendiet.