The 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.