“Nebulosa – The Organ’s Cosmic Sound Scapes” with particular focus on the Renaissance and Modern Eras 12-21 October, 2018

Monthly Archives: May 2012

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.