• Workshops

    Monday-Friday, October 14-18, 2019

    All workshops are held in English


    Register here

  • MORNING WORKSHOPS 9:00-11:30



    9:00-11:30 October 14–16, 2019


    Each participant may register for one of the following workshops (Nos. 1–4)




    A Reverse Road:

    Music for a mechanical clock readapted to the organ



    Edoardo Bellotti (Germany/Italy)



    German Church


    Claviorganum, Mats Arvidsson, 2019, with a harpsichord by Andreas Kilström.


    J. J. Froberger: Ricercata in cylindrum phonotacticum transferenda (Ed. Universal or Doblinger)
    G. F. Handel: Tunes for Clay’s Musical Clock (Organisten uit de 18e en 19e EEUW, vol. IV, edited by Willem van Twillert)
    F. J. Haydn: Pieces for a Mechanical Clock (any edition)
    W. A. Mozart: Fantasia KV 594, Fantasia KV 608, Andante KV 616 (any edition)





    The style français through the art of improvisation and ornamentation, based on works by Jacques Boyvin and Louis Marchand



    Monica Melcova (Spain)



    Organ hall (Ohlin hall), the Academy of Music and Drama (B301)



    Verschueren (1998), Manderscheidt (1640/50), England (1800)



    Improvisation based on and related to the following repertoire:

    Jacques Boyvin (1649 – 1706): Premier Livre d’orgue Louis Marchand (1669-1732): Premier Livre pour orgue; Cinquième Livre pour orgue
    Theory and practice of the tonal and modal harmony. Melodic shape and phrasing.

    Realization of figured and unfigured bass. Study of the music forms and schools.

    Elements in the suite française. French style of ornamentation.
    How to use cantus firmus in Plein jeu





    Organ Music from the Renaissance and Early Baroque



    Kimberly Marshall (USA) and Koos van de Linde (Germany)



    Örgryte New Church



    North German Baroque Organ

    (Arvidsson/van Eeken/Yokota, 2000)



    All Medieval Repertoire can be found in:
    Late-Medieval Anthology (Kimberly Marshall). Wayne Leupold Editions, 2000; available for purchase here
    From the Robertsbridge Codex:

    - Estampie (CEKM 1, 2)
    - Retrové (CEKM 1, 3)
    - Adesto (CEKM 1, 4)
    - Tribem quem (CEKM 1, 5)
    From Groningen University Library, Incunabulum no. 70:
    - Asperance
    - Empris domoyrs
    From the Faenza Codex
    - De ce fol penser (8)
    - Or sus, vous dormés trop (16)
    - Che pena questa (35)
    - Bel fiore dança (36)
    Tablature of Adam Ileborgh, 1448:
    - 5 Praeambula (15-19)
    - Mensura sex notarum sopra tenorem Frowe al myn hoffen an dyr lyed (20)
    From the Lochamer Liederbuch:
    - Mit ganczem Willen wünsch ich dir (21)
    - Domit ein gut Jare (22)
    - Wilhelmus Legrant (23)´
    From the Buxheimer Orgelbuch:
    - Se le fatze ay pale (83)
    - Lardant desir (133)
    - Adyen matres belle (144)
    - [J'ay pris amours] (239)
    - Kyrieleyson de S. maria v. (150)
    - Redeuntes in La (234b, p. 342)
    - Praeambulum super C (232)
    - Redeuntes in idem (C) p. 298
    - Praeambulum super mi (233)
    - Praeambulum super f (234)


    All renaissance repertoire can be found in:
    Renaissance Anthology (Kimberly Marshall). Wayne Leupold Editions, 2004 available for purchase here
    Marcantonio Cavazzoni, Recerchari, motetti, canzoni....libro primo. Venice, 1523.
    10. Recercar primo
    11. Salve virgo
    12. Plus ne regres
    Giovanni Cavazzoni, Intavolatura cioè recercari, canzoni, himni, magnificat...libro primo. Venice, 1543 (s.n.).
    13. Recercar Terzo
    14. I le bel e bon
    15. Falt d'argens
    Antonio Gardane, Intabolatura nova di varie sorte de balli. Venice, 1551
    20. Le forze d'hercole
    21. Pass'e mezo antico
    22. Pass'e mezo antico segondo
    23. Pass'e mezo antico [terzo]
    24. La Canella Gagliarda
    25. Venetiana gagliarda
    26. Salterello del Re
    Sperindio Bertoldo, Canzoni Francese Intavolate.…Venice: Giacomo Vincenti, 1591.
    27. Ung gay bergier (after Thomas Crecquillon)
    Sperindio Bertoldo, Tocate Ricercari et Canzon Francese.… Venice: Giacomo Vincenti, 1591.
    28. Canzon francese
    29. Ricercar del Sesto Tuono
    Arnolt Schlick, Tabulaturen etlicher lobgesang, Mainz, 1512
    44. Schlick, Maria zart
    Hans Buchner (1483-1538), Fundamentum, c. 1520
    47. Veni Creator
    48. Sancti Spiritus assit nobis gratia (from the Sequence of the Holy Spirit)
    49. Expulsis inde cunctis
    50. Purifica nostril
    Ammerbach tablatures, Basel Universitätsbibliothek F.IX. 22. and F. VI. 26
    51. Paul Hofheimer, Zucht, Ehr und Lob
    52. Hans Kotter, Prooemium in re
    53. Hans Kotter, Kochersperger Spanieler
    54. Johannes Weck, Hoppertanz
    Pierre Attaignant's publications of 1531
    31. L'espoir que jay
    32. Messe Cunctipotens: Kyrie
    33. Messe Cunctipotens: Sanctus
    39. Galliarde (on the Passemezzo antico)
    40–41. Two basse dances
    42. Branle gai (de Poitou)
    43. Pavane and gaillarde (Bel fiore)


    Online source easily available:
    Schlick, Tabulaturen etlicher Lobgesang (Gottlieb Harms edition. Klecken: Ugrino, 1924) (Uses C clef for treble)





    Rewriting Bach:

    A deep look at Bach’s keyboard teaching methods


    Solo and duo performances of Bach’s Inventions and Sinfonias. We will focus on Bach’s teaching methods at the clavichord using the information coded in Bach’s handwriting style in the manuscripts. The Berlin composer Ming Tsao has also written new voices for the two part inventions and his new version will be premiered at the Organ Festival.



    Joel Speerstra and Ulrika Davidsson



    Organ hall (Ohlin hall), the Academy of Music and Drama (B301)



    Solo and Duo performance at Clavichord–Harpsichord–Fortepiano



    Two-part inventions; Clavierbüchlein Wilhelm Friedemann Bach, Sinfonias

    MORNING WORKSHOPS 9:00-11:30




    9:00-11:30 October 17-18, 2019


    Each participant may register for one of the following workshops (Nos. 5-10)




    New Music for meantone organs: composition and interpretation



    Hans-Ola Ericsson



    Örgryte New Church



    North German Baroque Organ

    (Arvidsson/van Eeken/Yokota, 2000)



    For composers and performers who would like to explore composition for meantone temperament and the sounds of the north German baroque organ.





    Secular and Sacred ‘Miniatures’ of 20th-c French organ music: Organ Works by Jehan Alain and Jeanne Demessieux



    Kimberly Marshall (USA)



    St. Pauli Church

    Jehan Alain: Vol. 2- Deux danses à Agni Yavishta, Vol. 3- 1er and 2e Préludes Profanes; Climat; Lamento; Petite Pièce; Monodie; Berceuses sur deux notes qui cornent; Ballade en Mode Phrygien; Grave; Variations sur Lucis Creator; Postlude pour l’Office de Complies
    (Edition Leduc in 3 vols 1939-52; ed. Marie-Claire and Olivier Alain)
    Jeanne Demessieux: Twelve Choral-Preludes on Gregorian Chant Themes, op. 8 (composed 1947. Boston, MA: McLaughlin & Reilly, 1950, reissued by Summy-Birchard in 1995)





    Handel and the Claviorganum


    Edoardo Bellotti (Germany/Italy)



    German Church



    Claviorganum, Mats Arvidsson, 2019


    6 Fugues (Ed. Bärenreiter)
    Suite in d minor HWV 448 (Ed. Bärenreiter)
    Suite in F major HWV 427 (Ed. Bärenreiter)
    Organ Concertos Op. 4: Original orchestral version and Walsh’s Transcription, 1738 (A-R Editions, Madison)







    Mattias Wager (Sweden)



    Backa church



    Creative Accompaniment of Hymns primarily from the Swedish Hymn Book





    Improvisation and new music for organetto:

    The interplay of medieval modality and extended techniques


    Catalina Vicens



    Organ hall (Ohlin hall), the Academy of Music and Drama (B301)



    Improvising at the organetto using old diminution techniques and new sound improvisation techniques





    Orgue Expressif:

    Music for French Harmonium



    Joris Verdin



    Organ hall (Ohlin hall), the Academy of Music and Drama (B301)



    Lefébure-Wely: Nuits Napolitaines

    Théodore Dubois: Pastorale

    Victor Dubois: Trois Méditations

    Jacques Lemmens: Invocation, Nocturne, Walpurgisnacht

    Jules Mouquet: Suite pour Orgue-Mustel

    Alexandre Guilmant:

    Op 23 Deux Morceaux (Recueillement – Valse)

    Op 27 Prière et Berceuse

    Op 28 Canzonetta

    Op 29 Fughetta

    Op 30 Aspiration Religieuse

    Op 31 Scherzo

    Op 32 Villageoise Harmonium Pieces from L’Organiste Pratique





    October 14-17, 2019



    MONDAY, October 14, 14:00–17:00

    GERMAN CHURCH (admission free)


    Exploring The World Of The New Claviorganum

    An afternoon of lectures and demonstrations
    on Göteborg Baroque’s new claviorganum
    built by Mats Arvidsson with a harpsichord by Andreas Kilström


    Introduction by Annette Richards: “Keyboards, Keyboards, Keyboards! Experimenting and Collecting in 18th-Century Culture”


    Demonstration of Göteborg Baroque’s claviorganum

    Panel discussion: “The past and Future Role of the Claviorgan” moderated by Joel Speerstra.


    Participants and performers: Mats Arvidsson, Edoardo Bellotti, Peter Holman, Magnus Kjellson, Annette Richards, and Eleanor Smith.


    TUESDAY, October 15, 14:00-17:00

    ARTISTEN, B301 (admission free)


    Solo Keyboard Repertoire for Multiple Players:
    Acquiring A Polyphonic Ear


    Introduction by Annette Richards: “Magical Machines and Automatic Music”


    Walter Chinaglia presents his Monteverdi organs for the first time in Sweden (https://www.organa.it).


    Demonstrations discussions around ensemble playing for keyboardists by Joel Speerstra, Ulrika Davidsson and participants. We will discuss how enhanced ensemble skills (breathing, gesture, listening) in ensemble can change our solo playing. We will also explore methods for increasing our ability to audiate multiple lines in complex polyphony.


    Ming Tsao will discuss his “Dritte Stimme zu Bachs Zweistimmigen Inventionen” being premiered on Thursday evening.



    WEDNESDAY, October 16, 14:00–15:30

    ARTISTEN B301 (admission free)


    Presentations of master theses in music performance by students from various universities in the Nordic countries.


    Moderator: Joel Speerstra



    THURSDAY, October 17, 14:00-17:00

    ÖRGRYTE CHURCH (admission free)


    The Örgryte Organ as a Sound Lab For Contemporary Composers and
    The Soundscape of the Organetto


    Hans-Ola Ericsson is searching for new sounds that have never been heard from the Örgryte organ. Can these sublime and transcendent soundscapes be captured and repeated in any authentic way without recording? In 2019 he carried out a composition process using the Örgryte organ as a sound lab, manipulating the wind pressure with new mechanical technology. This session will lift the lid on the composer’s toolbox and present the evolving composition in live performance.


    Catalina Vicens will also introduce us to the sound world of the Organetto (https://www.catalinavicens.com).


    Moderator: Joel Speerstra.