GÖTEBORG INTERNATIONAL ORGAN ACADEMY 13–15 september 2012
The North German Chorale Fantasias and Georg Böhm’s Organ Works
1 Table of contents Välkommen! Welcome! Informationcover inside 2 Göteborg har utvecklats från en hamn- och in- At the beginning of the twenty-first century, Welcome 3 dustristad till ett regionalt centrum för näringsliv, Göteborg has undergone a metamorphosis from its Göteborg International Organ Academy 2012 4 utbildning, forskning och kultur. Göteborgs Sym- historical position as a harbor city and an industrial The Göteborg International Organ Academy 5 foniker är, sen ett antal år, Sveriges nationalorkes- center into a regional center for business, educa- Academy programme 2012 6-7 ter, vid älven står vårt vackra operahus, på många tion, research and culture. For some years, the Concert programmes and Vespers 8-12 scener i staden pågår intensiva teateraktiviteter, Göteborg Symphony Orchestra has also been the Master-classes 13 Göteborgs Filmfestival och bokmässan är händelser National Orchestra of Sweden. The beautiful Göte- GOArt library and instruments on display 13 av internationell betydelse och högskolevärlden borg Opera stands on the banks of the Göta River. Biographies 13-19 kan inte bara uppvisa forskningsfält av internatio- The city’s many stages support an active theater Organ specifications 19-22 nell betydelse utan ger också betydande bidrag till scene. The annual Film Festival and Book Fair are Artisten, Bjurum organ 19 kulturlivet i form av konst, formgivning, musik, international events, and Göteborg’s universities Artisten, Gustavsson & Kjersgaard organ 20 teater, internationella vetenskapsfestivalen, osv. not only support research of international signifi- Haga Church, Brombaugh organ 20-21 cance, but also make important contributions to Örgryte New Church, Willis organ 21-22 Kulturlivet bygger också broar till andra delar the city’s cultural life, in the areas of art, music, Concerts and Vespers 23 av Europa. En betydande del spelar orgel- och theater, and design, and with the International kyrkomusiken, som i Göteborg bygger på såväl Science Festival. traditioner som banbrytande förnyelse. Inom orgelkulturens område kan nämnas både en rad Göteborg’s cultural activities also build bridges to tidstypiska instrument och ett unikt nyskapande av other parts of Europe, and organ and church music orglar utifrån kvalificerad historisk forskning. Ett are a significant part of this outreach. Organ and nära samband mellan historiskt arv, samtida forsk- church music in Göteborg build on firm traditions ning och ett nyskapande utgör ett kännemärke för as well as pioneering new endeavors. The city’s or- dagens göteborgska orgelkultur och har giltighet gan culture includes, for example, the preservation långt utanför kulturområdet. of historical instruments, but also unique support for creating new instruments based on innovative Ett göteborgskt kultur- och orgellandskap med research into historical materials and techniques. europeiska influenser – kanske är det ett fram- The intimate relationship between historical tidstecken: orgeln som symbol för en europeisk heritage, contemporary research and creativity is integration som för att lyckas framför allt måste ha the particular hallmark of Göteborg’s organ scene, sin grund i kulturell och mellanmänsklig jord. and one with the potential to reach far beyond the boundaries of local cultural life. Information Lena Malm Biljetter säljs vid entrén en timme före kvällskonser- Tickets for the evening concerts are not for sale in Stadsfullmäktiges ordförande Perhaps Göteborg’s cultural life and its organ land- terna, inget förköp; 120 kr / 80 kr. advance. Tickets will be available at the venue from one scape, with its influences from and upon the rest of hour before the concert. Prices: SEK 120 / SEK 80. Europe, may show us something of the future: the organ as a symbol of European integration, which, Fritt inträde till lunchkonserterna. Free admission to all lunch concerts. in order to thrive, must be rooted above all in the Privata inspelningar av konserter är ej tillåtna. Private recordings of the concerts are prohibited. soil of culture and of our shared humanity.
Mötesbyrån (Artisten, Högskolan för scen och musik; Information office (at Artisten, Academy of Music Lena Malm tel 031–786 52 11) är öppen: and Drama; tel +46–(0)31–786 52 11) opening hours: Mayor Torsdag 13 sept: 9.00–13.00 Thursday 13 Sept: 9.00–13.00 Fredag 14 sept: 8.15–9.00 (Örgryte nya kyrka) Friday 14 Sept: 8.15–9.00 (Örgryte New Church) Lördag 15 sept: 8.15–9.00 (Örgryte nya kyrka) Saturday 15 Sept: 8.15–9.00 (Örgryte New Church)
Med reservation för ändringar! Subject to modifications!
2 3 Göteborg International The Göteborg International Organ Academy 2012 Organ Academy 13–15 September 2012: The North German Chorale Fantasias The Göteborg International Organ Academy is a professional development to church musicians and and Georg Böhm’s Organ Works in Meantone festival organized by the Göteborg International organists, both nationally and internationally. Organ Academy Association in cooperation with Organized by the Göteborg Organ Art Center (GOArt) and the Highlights from previous Academies: The Göteborg International Organ Academy Association in cooperation with the University of Academy of Music and Drama at the University of • In 1994 we celebrated the installation of the Gothenburg (the Academy of Music and Drama and the Göteborg Organ Art Center) Gothenburg, and supported by the City of Göte- first John Brombaugh organ in Europe, the borg. The Academy was created in 1994 to provide meantone Baroque organ installed in Haga Main sponsor a meeting-place where everyone interested in the Church in 1992. City of Göteborg art of the organ could gather to share and collect • In 1996 the 1871 Willis organ, recently restored new knowledge, to find artistic inspiration and to by Tostared’s, as well as the 1783 Schiörlin Organized in collaboration with enjoy great performances on the many instruments organ in Jonsered (partial restoration by Herwin The Friends of the Organ Art, Haga Parish, Örgryte Parish in Göteborg. The Organ Academy is unique in Troje, 1991) were featured. bringing together students, teachers, instrument • In 1998 we celebrated the installation of the new Special thanks to builders, scholars, performers and friends of organ French symphonic organ built by Verschueren for Gunilla Fridolin, Frederick K. Gable and Dan Offerlind art in order to offer them an international forum the Academy of Music and Drama. We also for dialogue and discussion in an inspiring and visited the 1854 Marcussen organ, recently The Göteborg International Organ Academy Association exciting Scandinavian environment. restored by Karl Nelson, in the Synagogue. Viktor Rydbergsgatan 24, 412 56 Göteborg; tel +46–(0)31–786 52 11, fax +46–(0)31–786 52 00, • In 2000 we celebrated the international inau- e-mail: [email protected], web:
13 September, Thursday 9.00–13.00 Registration (Information office at Artisten) 14.15–16.00 Master class II (Böhm) in Haga Church Hans Davidsson 13.00 Opening and lunch concert in Artisten, Room B301 (‘Ohlinsalen’) Joel Speerstra, clavichord, harpsichord, Bjurum organ 16.00 Break with refreshments 14.00 Keynote lecture (1) in Artisten, Room A505 (‘Lingsalen’); afternoon program 16.30 Lecture in Haga Parish House for participants and faculty only Frederick K. Gable: Varieties of Vespers in 17th-Century Germany: The Lüneburg Situation Hans Davidsson: The Organ Works by Georg Böhm: Sources, Editions and an 17.30 Bus transfer to Örgryte New Church Analytical Survey 18.00 Vespers in Örgryte New Church 15.00 Break with refreshments A Lüneburg Vespers Around 1700 15.30 Lecture in Artisten, room A505 (‘Lingsalen’) Göteborg Baroque, Magnus Kjellson conductor and organ Koos van de Linde: Böhm’s Organ at St. Johannis in Lüneburg and the Influence 21.00 Concert in Örgryte New Church of Niehoff on Organ Building in Northern Germany Pieter Dirksen, organ 16.30–17.30 Master class I (Böhm) in Artisten, room A503 (‘Bergerstudio’); 22.30 ‘Organ pub’ at The Bishops Arms at ‘Göteborg Park’ (Kungsportsavenyn 36) Hans Davidsson Informal after-hours meetup in a lively, comfortable downtown pub. 17.30 Keynote lecture (2) in Artisten, room A505 (‘Lingsalen’) Pieter Dirksen: The Background of the North German Chorale Fantasia 15 September, Saturday Concert 20.30 in Örgryte New Church 8.15–9.00 Information office in Örgryte New Church open Bine Katrine Bryndorf, organ 9.00–12.00 Master class III (The North German Chorale Fantasias) in Örgryte New Church; ‘Organ pub’ 22.00 at The Bishops Arms at ‘Göteborg Park’ (Kungsportsavenyn 36) morning and afternoon program for participants and staff only Informal after-hours meetup in a lively, comfortable downtown pub. Hans Davidsson 14 September, Friday 12.15 Lunch in €€€ 13.30 Lunch concert in Örgryte New Church 8.15–9.00 Information office in Örgryte New Church open Karin Nelson, organ 9.00 Lecture/Demonstration in Örgryte New Church; morning and afternoon program 15.00 Lecture in Artisten, room A505 (‘Lingsalen’) for participants and faculty only Ibo Ortgies: The Organ as Continuo Instrument c. 1700 in Northern Germany Pieter Dirksen: Performing Scheidemann’s Chorale Fantasias 15.45 Lecture in Artisten, room A505 (‘Lingsalen’) 10.00 Break with refreshments Karin Nelson: Scheidemann’s Magnificat Fantasias and Composition Techniques 10.30 Lecture/Demonstration in Örgryte New Church 16.30 Break with refreshments (and GOArt book sales) Bine Katrine Bryndorf: The North German Chorale Fantasia During the Second Half of the 17th Century: Case Studies From The Perspective of Composing at the Keyboard 17.15 Lecture in Artisten, room A505 (‘Lingsalen’) Joel Speerstra: Acting the Chorale Fantasias 11.45 Bus transfer to Haga Church 18.00 Buffet in €€€ (for participants and faculty only) 12.15 Lunch in Haga Parish House 21.00 Concert in Örgryte New Church 13.30 Lunch concert in Haga Church Hans Davidsson, organ, and dancers Stayce Camparo and Jonathan Davidsson Ulrike Heider, organ
6 7 Concert programmes and vespers
13 September, Thursday 14 September, Friday
13.00 Artisten, Room B301 (‘Ohlinsalen’), free admission 13.30 Haga Church, free admission Joel Speerstra, harpsichord, clavichord, and organ Ulrike Heider, organ
Georg Böhm (1661–1733) Ach wie nichtig, ach wie flüchtig (chorale partita) Franz Tunder (1614–1667) Praeambulum in g Suite in D In dich hab ich gehoffet, Herr Ouverture – Air – Rigaudon – Trio Canzona in F Rondeau – Menuet – Chaconne Freu dich sehr, o meine Seele (chorale partita) Dieterich Buxtehude (1637–1707) Wie schön leuchtet der Morgenstern (BuxWV 223) Capriccio in D Heinrich Scheidemann (ca. 1595–1663) Fantasia in G (shortened version of Toccata in G Praeludium in g and Chaconne in G [WV 43], possibly by Wilhelm Karges, 17th C) In dich hab ich gehoffet, Herr (WV 8) 20.30 Örgryte New Church, tickets: SEK 120 / SEK 80 Kyrie Summum [Kyrie–Christe–Kyrie] (WV 12) Bine Katrine Bryndorf, organ Praeambulum in d (WV 33)
Heinrich Scheidemann (c.1595–1663) Praeambulum in G (WV73) Jesus Christus, unser Heiland, der von uns (WV 10) 18.00 Örgryte New Church, free admission A Lüneburg Vespers Around 1700 Dieterich Buxtehude (1637–1707) Praeludium in C (BuxWV 137) Göteborg Baroque under the direction of Magnus Kjellson Anna Jobrant, soprano Nun freut euch, lieben Christen gmein (BuxWV 210) Ann Kjellson, soprano Passacaglia in d (BuxWV 161) Amanda Flodin, alto Gustav Eriksson, bass Nicolaus Bruhns (1665–1697) Nun komm, der Heiden Heiland Per Buhre, violin Marie-Louise Marming, violin Praeludium in G Magnus Kjellson, organ Stefan Hiller, pastor Frederick K. Gable, music selection and preparation A separate agenda will be available
Introïtus: Veni Sancte Spiritus Heinrich Schütz (1585–1672) Der Herr sprach zu meinem Herren (Psalm 110) Vicenzo Albrici (1631–1696) Laudate pueri Christian Flor (1626–1697) Der Herr ist der Armen Schutz (Psalm 9:10ff.) Heinrich Scheidemann (ca. 1595–1663) Jesus Christus, unser Heiland [organ] (WV 10) Andreas Hammerschmidt (1611/12–1675) Meine Seele erhebet den Herren Christian Flor Praeludium in E 8 9 14 September, Friday
21.00 Örgryte New Church, tickets: SEK 120 / SEK 80 21.00 Örgryte New Church, tickets: SEK 120 / SEK 80 Pieter Dirksen, organ Hans Davidsson, organ Stayce Camparo, Jonathan Davidsson, dancers Heinrich Scheidemann (c.1595–1663) Praeambulum in C (WV 30) Joel Speerstra, reader Allein zu dir, Herr Jesu Christ (WV 75) “The Four Seasons with Organ, Dance, and Poetry” Winter Spring Melchior Schildt (1593–1667) Magnificat 1. Toni Primus versus à 4 – cantus in tenor William Blake (1757–1828): To Winter William Blake: To Spring Secundus versus à 4 – fantasia O Winter! bar thine adamantine doors: O thou, with dewy locks, who lookest down Tertius versus à 4 – ricercare The north is thine; there hast thou built thy dark Thro’ the clear windows of the morning; turn Quartus versus à 3 – cantus in tenor Deep-founded habitation. Shake not thy roofs, Thine angel eyes upon our western isle, Quintus versus à 3 – cantus in sopran Nor bend thy pillars with thine iron car. Which in full choir hails thy approach, O Spring! He hears me not, but o’er the yawning deep The hills tell each other, and the list’ning Johann Adam Reincken (1643–1722) An Wasserflüssen Babylon Rides heavy; his storms are unchain’d; sheathed Vallies hear; all our longing eyes are turned Fuga in g In ribbed steel, I dare not lift mine eyes; Up to thy bright pavillions: issue forth, For he hath rear’d his sceptre o’er the world. And let thy holy feet visit our clime. Dieterich Buxtehude (1637–1707) Ich ruf zu dir, Herr Jesu Christ (BuxWV 196) Lo! now the direful monster, whose skin clings Come o’er the eastern hills, and let our winds Praeludium in C (BuxWV 138) To his strong bones, strides o’er the groaning rocks: Kiss thy perfumed garments; let us taste He withers all in silence, and his hand Thy morn and evening breath; scatter thy pearls Unclothes the earth, and freezes up frail life. Upon our love-sick land that mourns for thee. 15 September, Saturday He takes his seat upon the cliffs, the mariner O deck her forth with thy fair fingers; pour Cries in vain. Poor little wretch! that deal’st Thy soft kisses on her bosom; and put 13.30 Örgryte New Church, free admission With storms; till heaven smiles, and the monster Thy golden crown upon her languish’d head, Karin Nelson, organ Is driv’n yelling to his caves beneath mount Hecla. Whose modest tresses were bound up for thee!
Anonymous Magnificat VII. Toni Georg Böhm (1661–1733): Praeludium in a Georg Böhm: Praeludium in C (MS Ze1) Versus 1 Versus 2 Henry Carlile (b. 1934): [Winter] Henry Carlile: [Spring] Versus 3 In the shape of a submarine It looks like a stopped grey heart, Versus 4 frost lengthens on a window. if hearts sport such delicate scallops Outside, winter sparrows perch and trees wear hearts on their sleeves. Heinrich Scheidemann (ca. 1595–1663) Magnificat VI. Toni in rhinoceros-colored trees. Now the first wasp of spring emerges, Versus 1 Mare’s tails chase whitely its wings a transparency of fish scales, Versus 2 past brick chimneys. old isinglass or vein-fretted windows— Versus 3 I have seen those lights before, wings of the first untranscendent angel Versus 4 small rectangular eyes sentenced to death by the god frost. Anonymous Untitled: Magnificat of far buildings, one church How can some later spring reclaim this (MS Ze1) Fantasy VIII.Toni steeple darkening the blue sky. paper city or repair its walls damaged in the long drop from the one hundred Improvisation and twentieth odd year of a tree?
Georg Böhm: Vom Himmel hoch da komm ich Improvisation her (organ chorale) P.T.O Wer nur den lieben Gott läßt walten (partita) 10 11 Summer Fall Master class William Blake: To Summer Georg Böhm: Vater unser im Himmelreich (auf 2 The Organ Academy 2012 includes three master- and several interesting instruments worth visit- O thou, who passest thro’ our vallies in Clav) class sessions, all conducted by Hans Davidsson. ing. The current collection includes a Rosenvall Thy strength, curb thy fierce steeds, allay the heat Two sessions are devoted to Georg Böhm’s organ grand piano from 1837 and a fortepiano by Paul works and one to the North German Chorale McNulty from 1999. In addition, there will be That flames from their large nostrils! thou, O Summer, Henry Carlile: [Fall] Fantasias. clavichords on exhibition from two alumni of the Oft pitched’st here thy golden tent, and oft I always imagined that place GOArt Research Workshop: Gregor Bergmann Beneath our oaks hast slept, while we beheld as an orchard on a mountaintop, and Per-Anders Terning. Gregor is now building With joy, thy ruddy limbs and flourishing hair. its summer Delicious freckling GOArt library and clavichords and claviorgana in his newly established to a sunset by Seurat. Beneath our thickest shades we oft have heard instruments on display workshop in Leer, Ostfriesland, in Germany and But the last time it was fall, Thy voice, when noon upon his fervid car GOArt’s villa at Viktor Rydbergsgatan 24 will be Per-Anders has an established keyboard and wood- the sere grass bent one way Rode o’er the deep of heaven; beside our springs open for visitors during the Academy at the follow- working shop in Tollered outside of Göteborg. Per- toward an open gate, Sit down, and in our mossy vallies, on ing times: Anders’ most recent project in collaboration with as though a great wind had swept. Some bank beside a river clear, throw thy Thursday,13 September: 09.00–12.00, 18.30–19.30 GOArt is a copy of a 6-octave Lindholm clavichord Silk draperies off, and rush into the stream: Saturday, 15 September: 18.30–19.30. for Gunnebo House and Gardens, just south of Arvo Pärt (b. 1935): Pari Intervallo Our vallies love the Summer in his pride. GOArt has the largest research library for organs Göteborg in Mölndal, that was inaugurated in June of this year. Our bards are fam’d who strike the silver wire: Georg Böhm: Vater unser im Himmelreich (organ and related keyboard instruments in Scandinavia, Our youth are bolder than the southern swains: chorale) Our maidens fairer in the sprightly dance: We lack not songs, nor instruments of joy, William Blake: To Autumn Biographies Nor echoes sweet, nor waters clear as heaven, O Autumn, laden with fruit, and stained Joakim Brink Lodjurets timme and Trettondagsafton at the Borås Nor laurel wreaths against the sultry heat. With the blood of the grape, pass not, but sit Stadsteater, for Bärgningen and Måsen at the Beneath my shady roof, there thou may’st rest, Jönköping Länsteater and for My Fair Lady and Georg Böhm: Praeludium in d And tune thy jolly voice to my fresh pipe; Stoppa världen at the Wasa Teater in Finland. He Herr Jesu Christ, dich zu uns wend (chorale varia- And all the daughters of the year shall dance! has also designed lighting for productions such tions) Sing now the lusty song of fruits and flowers. as Hair at the Balettakademi in Göteborg, for the Göteborg Concert Hall, for the Växjö Länsteater “The narrow bud opens her beauties to and for the dedication of the new SPIRA theater in The sun, and love runs in her thrilling veins; Jönköping. Blossoms hang round the brows of morning, and Flourish down the bright cheek of modest eve, P hoto: ? Till clust’ring Summer breaks forth into singing, Bine Bryndorf And feather’d clouds strew flowers round her head. Joakim Brink has designed lighting for numerous The spirits of the air live on the smells productions by the Göteborg Opera, including Of fruit; and joy, with pinions light, roves round Jenufa, Peter Grimes, Resan till Reims, Tannhäuser, The gardens, or sits singing in the trees.” Trollflöjten, Katja Kabanova and My Fair Lady, Thus sang the jolly Autumn as he sat, as well as the dance performances Bolero and La- Then rose, girded himself, and o’er the bleak la-land. For the Göteborg Opera’s regional tours, Hills fled from our sight; but left his golden load. he has created lighting designs for Junker Nils av Eka, En förtrollad afton, Fame, Blodeuwedd, Stoppa
världen!—Jag vill kliva av, The Rocky Horror Show, P hoto: ? Georg Böhm: Praeludium in g Kung Baklänges, Erik & Eva and Grymt! He has also worked at the Royal Danish Theater in Co- Bine Bryndorf is professor of organ at the Royal penhagen and Riksteatret in Oslo. He has designed Danish Academy of Music, Copenhagen. She has lighting for Simon och Ekarna at the Folkteater in given concerts and master-classes all over Europe, Göteborg, for Kharmen at the Göteborg Stadste- in Japan and in the USA. She has recorded the ater, for productions including Måsen, Gökboet, organ works of J. S. Bach, Dieterich Buxtehude
12 13 and contemporary composers for the Hänssler, roles. Some of her favorites include Calliope in In 2007, he was appointed professor of organ at Burana (Welch), Don Quixote, Coppelia, Dracula Dacapo, and Classico labels. In 2007 she com- Balanchine’s Apollo, Amelia in José Limon’s The the University of the Arts Bremen in Germany, (Stevenson), Ronald Hynd’s Merry Widow, James pleted a prize-winning recording of all of Buxte- Moore’s Pavane, leads in Balanchine’s Who Cares? where he is also the director of the Arp Schnitger Kudelka’s Little Dancer, Balanchine’s Serenade and hude’s organ works for Dacapo Records (see www. and Serenade, Jessica Lang’s Splendid Isolation III Institut für Orgel und Orgelbau. In 2011, Hans Christopher Wheeldon’s Carnival of the Animals. dacapo-records.dk). She is President of the Jury and Bruce Mark’s Lark Ascending. In 2006, she was Davidsson was appointed professor of organ at the His roles with the Rochester City Ballet include for the Odense International Organ Competi- chosen for the National Choreographic Initiative’s Royal Danish Academy of Music in Copenhagen, Don Jose in Edward Ellison’s Carmen, the Snow tion and is regularly sought after as a member of three-week program, where she worked closely where he started his work in the fall of 2012. He King in The Nutcracker, the Prince in Cinderella international juries. Bine Bryndorf studied organ with Graham Lustig and Charles Moulton. In performs and teaches at major festivals and acad- and the lead role of Tim Draper in Jamey Leverett’s with Michael Radulescu, Daniel Roth and William 2009, she participated in Alonzo King’s summer emies throughout the world. He has made many Pedestal. He competed in the 2006 USA Interna- Porter and harpsichord with Gordon Murray. She workshop in San Francisco and in 2011, in the recordings, most recent among them the complete tional Ballet Competition and won a full scholar- was a teaching assistant to Radulescu in Vienna José Limon workshop in Fullerton, California works of Dieterich Buxtehude at the North Ger- ship to the Royal Ballet School in London while for five years before moving to Copenhagen. She under Colin Conner, Debora Noble and Brenna man Baroque organ in Örgtye New Church in competing at the 2004 Youth America Grand Prix. has taken prizes in several competitions, among Monroe-Cook. Stayce Camparo has choreographed Göteborg, on the Loft label. Currently, he is also In 2005, Jonathan Davidsson was invited – with them Innsbruck, Brügge and Odense (organ) and pieces for the Kansas City Ballet’s workshop In the a visiting researcher at Göteborg University, where RCB company member Hayley Meier – to be the Melk and Copenhagen (chamber music). She was Wings, Matthew Powell’s Crossroads Dance Festival he works with the organ music of Georg Böhm only American couple to perform at the Interna- Artist in Residence at the National Danish Radio in Kansas City and Kansas City’s Quixotic Fusion, and multi-artform performance perspectives, in tional Ballet Festival Trujillo in Peru. This summer, in 1999/2000. collaborating with local artists on fashion, media, particular organ and dance. His lecture and recital with his brother Gabriel Davidsson, he performed music, and dance. In 2011, she was commissioned for the GIOA 2012 are part of the presentation of his original choreography in Incheon, South Korea Stayce Camparo to present a new work for Nick Kepley’s Mo- that project. to music performed by Hans and Ulrika Davids- tion Dance Theater, which debuted in Asheville, son. He recently completed his associate’s degree in North Carolina.Her love for the creative process Jonathan Davidsson Liberal Arts at Monroe Community College and and expressive movement led her to develop the is currently a dancer with the National Ballet of contemporary dance project Exhibit Sway in 2011. Canada in Toronto. This project creates opportunities for professional dancers to choreograph while collaborating with Pieter Dirksen artists in the Kansas City community.
Hans Davidsson P hoto: ?
A native of Göteborg, Sweden, Jonathan Davids- son trained at the Royal Swedish Ballet School
P hoto: ? before relocating to Rochester, New York. He completed his training at the Timothy M. Draper Stayce Camparo has been dancing and choreo- Center for Dance Education and with a scholar- P hoto: ?
graphing all her life. Since 2003, she has danced P hoto: ? ship to the Kirov Academy of Ballet. He was a with the Kansas City Ballet. Raised in Redondo member of the Houston Ballet, where he danced Pieter Dirksen performs as a soloist on both harp- Beach, California, she trained in Santa Monica From 1987–2005, Hans Davidsson served as as the Prince in Cinderella and the Prince and the sichord and organ and as a continuo player with while participating in prestigious dance programs professor of organ at the School of Music at Russian in The Nutcracker, and had soloist roles in various chamber ensembles. He completed his mu- in New York, Philadelphia and Seattle, where she Göteborg University, and from 1994–2009 as the La Sylphide, Jiri Kylian’s Petite Mort, and Christo- sicological studies with honours in 1987 and since spent two years on full scholarship in the profes- Artistic Director of the Göteborg International pher Wheeldon’s Carousel as well as Falling, Four then has published widely about Baroque keyboard sional division program. Since joining the Kansas Organ Academy (GIOA). He is the founder of Seasons, Clear and Brigade by the Houston Ballet’s music. In 1996 he received his doctorate ‘cum City Ballet, she has worked with noted choreogra- the Göteborg Organ Art Center (GOArt). From artistic director Stanton Welch. Additional roles laude’ with a dissertation on the keyboard music of phers including Donald McKayle, Val Caniparolli, 2001–2012, he served as professor of organ at the with the Houston Ballet include work in Swan Jan Pieterszoon Sweelinck, which was awarded the Robert Hill, Trey McIntyre, Jessica Lang and Eastman School of Music and project director of Lake, Nosotros, Marie Antoinette, A Doll’s House, Ve- Dutch Erasmus Prize. He has also devoted books Karol Armitage, in various soloist and principal the Eastman-Rochester Organ Initiative (EROI). locity, Gershwin Glam, Madame Butterfly, Carmina to Bach’s Art of Fugue (1994), Sweelinck (essays,
14 15 2002) and Scheidemann (2007), and produced American Institute of Musicology. Music edited Collection, including music by Christian Geist, critical editions of music by Bull, Sweelinck, Cor- by Frederick Gable is performed frequently in Johann Valentin Meder, Franz Tunder as well net, Scheidemann, Düben, Buxtehude, Reincken, northern Europe and England, and has been issued as Buxtehude. Both CDs have been released by Lübeck and Bach. Pieter Dirksen is a member of on CD recordings in Germany, Sweden, and the Footprint Records (Sweden) and are distributed by the Combattimento Consort Amsterdam and the United States. He has published articles on related Naxos Sweden (distribution in the UK: Discovery Netherlands Bach Society as well as the chamber subjects in Early Music, A Performer’s Guide to records). music group La Suave Melodia. He has performed Renaissance Music, The New Grove Dictionary in most European countries, the United States and of Music and Musicians, The Journal of the Viola Ulrike Heider Canada, and regularly gives master-classes in cham- da Gamba Society, Proceedings of the Göteborg ber music and keyboard playing. He has taught at International Organ Academy, Keyboard Perspec- the summer academies in Haarlem, Göteborg and tives, and elsewhere. He received the American
Smarano and has been affiliated with the Göte- Musicological Society’s Noah Greenberg Award in P hoto: ? borg Organ Art Center as a senior researcher. As 1994 for his edition of the Hamburg Gertruden- a soloist, he specializes in the seventeenth-century musik of 1607. His early church service recon- with Rune Wåhlberg, Hans Davidsson and Hans northern European repertoire and in the music structions have been presented at the Jacobikirche van Nieuwkoop. From 1995–2007 he taught organ of J. S. Bach. Prominent among his solo record- in Hamburg and other German cities, at the interpretation and liturgical organ at the Academy ings are a reconstruction of the earliest version of International Organ Academies in Göteborg (in of Music and Drama in Göteborg. He is frequently Bach’s Art of Fugue (2002/2007), a recording of cooperation with GOArt) and at the Boston Early engaged as a guest instructor at international the Goldberg Variations (2010) and the complete Music Festival. academies and festivals. He has toured in Europe as recording of Sweelinck’s keyboard music, in which an organ soloist and ensemble leader, and in 2007, P hoto: ? he participated both as a player and musicologist Göteborg Baroque he made his soloist debut in the United States. The (2003; the recording received the Dutch Edison Swedish Early Music Society awarded him their Classical Music Award). Ulrike Heider was born in Erlangen, Germany annual prize in 2007 for his work with early music and moved to the Netherlands for her profes- and with Göteborg Baroque. sional music studies. She has earned degrees from Frederick K. Gable several conservatories, in church music and organ Koos van de Linde (with Bert Matter and Hans van Nieuwkoop in Arnhem), in choral and orchestral conducting and in Early Music ensemble singing. She is active as a Photo: ? conductor, church musician and organist and has Göteborg Baroque is a Swedish music ensemble given recitals in Austria, Belgium, the Netherlands, that focuses on Swedish, German and Italian music Germany, Italy, Norway and Sweden. She cur- from the seventeenth and eighteenth centuries. The rently serves as the organist of the Haga Church ensemble consists of eight singers and twenty-three in Göteborg, conducts two chamber choirs in
P hoto: ? musicians performing on period instruments. Since Göteborg and is the founder and artistic leader of
2004, Göteborg Baroque has held its own concert the vocal ensemble Schola Gothia. She has taught P hoto: ? Frederick K. Gable taught at the University of series in the German Church in Göteborg. Their and performed at various festivals and academies in California, Riverside, from 1968 to his retirement programmes feature both major standard works Europe and has recorded on the Proprius, Loft and Koos van de Linde was born in Rotterdam in in 2006. His courses included Music History such as Handel’s Messiah and Bach’s St John Passion Intim labels, and has received several awards for 1954. After obtaining the Bachelor of Science Survey to 1900, Seminar in Baroque Music, as well as an ongoing exploration of the unknown her work as a choir director. degree in molecular sciences (physics), he studied Performance Practices of Early Music, Music of J. gems hidden in the Düben collection (Uppsala musicology at Utrecht University and organ at the S. Bach and Construction of Early Instruments; he University Library), the world’s largest collection Magnus Kjellson Utrecht Conservatory, where he received his mas- also directed the Collegium Musicum. He received of original scores from the Baroque era. Göteborg ter’s degree under Professor Nico van den Hooven his PhD from the University of Iowa in 1966 with Baroque regularly tours Sweden and Europe and Magnus Kjellson is the creative director of the in 1983. Beginning in 1981, he participated for a dissertation on the polychoral motets of Hierony- has released two CDs. Their debut CD from ensemble Göteborg Baroque and organist in the more than ten years in a research project led by mus Praetorius (1560–1629) and continues editing 2007 was entirely devoted to music by Dieterich German Church in Göteborg. He was educated at Jan van Biezen to document preserved elements Praetorius’ vocal works. He is currently preparing Buxtehude and was followed in 2010 by “Ach Swea the Academy for Music and Drama in Göteborg, of Dutch Renaissance organs. The results were a complete five-volume edition published by the Thron” containing festival music from the Düben where he received his soloist diploma, and at the published in Het Nederlandse orgel in de Renais- Sweelinck Conservatory in Amsterdam. He studied 16 17 sance en Barok, in het bijzonder de school van through Heinrich Scheidemann’s Magnificat Set- in Europe on several grants that allowed him to Jan van Covelens. He has continued to investigate tings.” She is a senior lecturer in organ repertoire study organ and clavichord with Harald Vogel as the scaling, voicing and technical construction of and organ improvisation at the Academy of Music well as instrument building with John Barnes. His Dutch organs from the period before 1700 and the and Drama in Göteborg. She gives regular recit- doctoral project led to the reconstruction of the influences of Hendrik Niehoff on the Hamburg als in Sweden and abroad and has made several Gerstenberg pedal clavichord and a book published organ building tradition. Koos van de Linde has recordings. in 2004 for Rochester University Press: Bach and taught organ building and history of organ music the Pedal Clavichord: An Organist’s Guide. He has at the Antwerp Conservatory and at the Lem- Ibo Ortgies P hoto: ? given performances and presentations for the Brit- mens Institution at Louvain, and has served as an ish, Boston and German Clavichord Societies and expert consultant in restoration and reconstruction the international clavichord symposia in Magnano. projects for instruments such as the Van Hager- also a researcher and the publications director for He is also a regular member of the Organ Academy beer organ in the Pieterskerk in Leiden, the choir the Göteborg Organ Art Center. He is active as an in Smarano. In 2011, his research on the pedal organ in the Laurenskerk in Alkmaar, the organ in instrument builder, performer and musicologist. clavichord was awarded the Hilding Rosenberg Ostönnen and the spring chest organ at Lemgo. In He studied the organ with William Porter and Da- Prize in musicology from the Royal Swedish Acad- Spain, he participated in the reconstruction of the vid Boe at Oberlin Conservatory before continuing emy of Music. partly Gothic organ of San Pedro de los Francos at Calatayud. In Belgium, he collaborated in the construction of two new organs in the Dutch Organ specifications Renaissance style. He currently collaborates with the Arp-Schnitger-Institut für Orgel und Orgelbau P hoto: ? Artisten at the University of the Arts Bremen in Germany, participates in the Schnitger Database project, The Bjurum Organ Ibo Ortgies was born in Norden, Germany in and works as an independent organ researcher and The organ (a table organ or positive, with the inventory for that year. In 1870 it was moved to consultant. 1960. He studied musicology in Hamburg and in Göteborg, where he earned his Ph.D. in 2004. His bellows on top of its case) was built by Nicolaus the Bjurum manor house. The Antiquarian As- research and publications are based on extensive ar- Manderscheidt in Nuremberg, most likely between sociation of Västergötland bought the instrument Karin Nelson chival studies and cover a wide variety of subjects: 1643 and 1651. It is documented that the instru- in 1918 and stored it in Skara, where it entered the biographical studies of composers and builders of ment served as a house organ in Wisingsborg Cas- ownership of the Västergötland Museum. Repairs organs and other instruments, manuscript studies tle on the island of Visingsö in 1651; it was owned are documented for 1718 (by Christian Rüdiger) (for example, of the Zellerfeld tablature) and top- by Per Brahe the Younger. In 1656 (or 1666), Per and the 1860s (by A.G. Wernquist). Since 1996 ics in organ building history from1500–1800. A Brahe donated the organ to the Brahe Church on the organ has been on loan to the Academy of main focus of his work has been the temperaments Visingsö. Between 1691 and 1772, the instrument Music and Drama and located in the organ hall of and tuning of organs in relation to performance served the Castle Chapel in Jönköping; thereaf- the academy’s building, Artisten. The organ was re- practice in Northern and Central Germany and the ter, it was purchased by an unknown person and stored in 1972-1976 by Mads Kjersgaard, Uppsala. Netherlands from about 1500 until the time of J. moved back to Visingsö. At some point, the organ The instrument’s façade displays both the Quinta S. Bach. Ortgies’ research has contributed to new was sold to Bjurum Church, where it was placed 11/2 (50 speaking pipes) and the reconstructed views on keyboard music of the German Baroque no later than 1829; it is mentioned in the church’s Regal 8. and its perfomance practice. He has lectured Specification P hoto: ? frequently in Europe and the United States. He has collaborated closely with GOArt as an organ Manual • CDE–c3 ¼-comma meantone temperament Karin Nelson was born in Skellefteå in the far adviser and researcher since its foundation at Göte- Grob Gedact 8 wood, stopped Three subsemi-keys: d#°, d#1 and d#2 (50 keys) north of Sweden. She studied music and education borg University in 1995, and was appointed to the Principal 4 wood Pitch: a1 = 477 Hz at the Piteå School of Music and church music at staff in 1999. His website is https://sites.google. Klein Gedact 4 wood, stopped; Two wedge-bellows with six folds each the Gothenburg School of Music, where she re- com/site/iboortgies/. open from c#2 up Wind pressure 68 mm ceived her soloist diploma. She studied harpsichord Octava 2 wood No electrical blower and organ for two years at the Sweelinck Conserva- Joel Speerstra Quinta 1½ metal, repeats on c#2 tory in Amsterdam. She earned her doctorate with Super Octava 1 metal, repeats on c#2 Joel Speerstra is a lecturer at the Academy of Music a dissertation titled “Improvisation and Pedagogy Regal 8 wood, 1976 and Drama at Göteborg University, where he is Tremulant mild tremulant 18 19 Artisten of Music and Drama at the University of Gothen- was the first American tracker organ in Europe The Gustavsson & burg. The project was financed by the Haga parish, with quarter-comma meantone temperament and with many contributions from private individuals subsemitones. Kjersgaard Organ as well as other sponsors. The Brombaugh organ The instrument was built by Robert Gustavssons tury builders who also worked on the above men- Specification Pedal • CDE-d1 Orgelbyggeri in Härnösand in 1993 and voiced tioned organ of the German Church in Stockholm Subbaß 16 3 by Mads Kjersgaard, Uppsala. The façade was – were designed with uniform scaling. The cut-ups, Werk (I) • CDE-c Praestant* 8 designed according to early 17th-century Baroque however, have different proportions, so that a vari- Praestant* 8 Octava 4 examples. Although there was no one specific ation in sound is achieved. The open pipes are cut Gedackt 8 Bawrflöitlein 1 model for the façade, certain elements of the to length. The case is made of pine and painted. Holzprincipal 8 Posaunen 16 former organ in the German Church in Stockholm The wind chests and the action are made of oak. Octava 4 Trommet* 8 (now reconstructed) were used. The original façade All of the Pedal stops are made of wood (pine or Spitzpipe 4 Dulcian 8 and two divisions of that instrument, built by Paul oak). The stop names were painted by hand, with Octava 2 Cornett 2 Müller in 1608, are preserved in Övertorneå. The Latin names in Roman letters, and German names Qvinta** 3 Principal stops – made in the style of George in Gothic letters. Sesquialtera (treble)** II * manual stops, playable in the pedal by transmis- Herman and Philip Eisenmenger, two 17th-cen- Mixtura IV-VI sion Trommet* 8 ** Quinta and Sesquialtera use one stop-knob; Specification Sesquialtera playing when knob full drawn; Sesqui- Brustpositiv (II) • CDEFGA-c3 1 1 Huvudverk (I) • C–g3 Pedal • C–f1 altera begins at c or c# at choice of the organist Holzgedackt 8 Principal 8 Sub Bas 16 Flöit 4 Block Floit 8 Octav Bas 8 Tremulant (affecting entire organ) Hohlquinta (treble) 3 Octava 4 Trompet Bas 8 Coupler: Werk/Pedal Hohlflöitlein 2 1 1 Quer Floit 4 Subsemi-keys in Manuals: eb°/d#°, g#°/ab°, eb /d# , Regal 8 1 1 2 2 Quinta 3 Couplers: II/I, I/P, II/P, II 4/P g# /ab , eb /d# ; in Pedal: eb°/d#°, g#°/ab° Super Octava 2 Pitch: a1 = 440 Hz Wind pressure: 78 mm 1 Scharf II Temperament: Kirnberger-III Pitch and temperament: a = 460 Hz; quarter- Trompet 8 Schwimmer bellows and concussion bellows comma meantone Wind pressure: 70 mm Two single-folded wedge bellows Bröstverk (II) • C–g3 Grob Gedact 8 Örgryte New Church Octava 4 The North German Klein Gedact 4 Baroque Organ Flöjt 2 Regal 8 The monumental city organs built in our cultural This was made possible through the combination Tremulant sphere during the Baroque period represented the of extensive research on pipe material, acoustics, pinnacle of that time’s architecture, music, mechan- and air flow dynamics at Chalmers University of Haga Church ics, mathematics, art, and technology. The organs Technology, and through experimentation with The Brombaugh Organ of the North German cities developed during the and development of craft techniques in GOArt’s most prominent period of organ art, the time of Research Workshop at the University of Gothen- in the North Gallery organists such as Heinrich Scheidemann, Matthias burg. The North German Baroque Organ has four The organ was built by John Brombaugh in Mare’s organ from 1611 in the Ansgari Church in Weckman and Dieterich Buxtehude. The aim of manuals, pedal and 54 stops, and its specification Eugene, Oregon, in the United States in 1991. It Bremen. The organ case is mainly in Appalachian the North German Organ Research Project was to was modeled on that of Schnitger’s organ in the was installed in the Haga Church in late 1991 and white oak and the alloys of the pipework contain, reconstruct, on a scientific basis, a 17th-century Hamburg Jakobi Church. The façade is a copy of inaugurated on 8 March 1992. The instrument was in accordance with historical practice, a high North German organ in the style of Arp Schnitger the 1699 Schnitger organ façade in the Lübeck largely patterned on North German instruments proportion of lead. The planning and realization (1648-1719). Within the project, methods of an- Cathedral (this organ was destroyed during World from the early 17th century. For example, the organ of the instrument was carried out in close coopera- cient organ building handicraft were reconstructed. War II). front is modelled on the Rückpositiv of Marten de tion between the Haga parish and the Academy P.T.O
20 21 Specification Concerts and Vespers Werck (II) • CDEFGA-c3 Brust Positiv (IV) • CDEFGA-c3 Thursday, 13 September, 13.00 Principal 16 Principal 8 Artisten, ‘Ohlinsalen’, lunch concert Quintaden 16 Octav 4 Joel Speerstra, organ – clavichord – harpsichord Octav 8 Hollfloit 4 Spitzfloit 8 Waltfloit 2 Thursday, 13 September, 20.30 Octav 4 Sexquialter 2fach Örgryte New Church Super Octav 2 Scharff 4.5.6fach Bine Katrine Bryndorf, organ Rauschpfeiff 2fach Dulcian 8 Mixtur 6.7.8fach Trechter Regal 8 Friday, 14 September, 13.30 Trommet 16 Haga Church, lunch concert Pedal • CD-d1 Ulrike Heider Rück Positiv (I) • CDE-c3 Principal 16 Principal 8 SubBass 16 Friday, 14 September, 18.00 Quintadena 8 Octav 8 Örgryte New Church Gedact 8 Octav 4 A Lüneburg Vespers Around 1700 Octav 4 Rauschpfeiffe 3fach Göteborg Baroque, Magnus Kjellson, conductor and organ Blockfloit 4 Mixtur 6.7.8fach Octav 2 Posaunen (from F) 32 Friday, 14 September, 21.00 Quer Floit 2 Posaunen 16 Örgryte New Church Sieffloit 11/2 Dulcian 16 Pieter Dirksen, organ Sexquialt 2fach Trommet 8 Scharff 6.7.8fach Trommet 4 Saturday, 15 September, 13.30 Dulcian 16 Cornet 2 Örgryte New Church, lunch concert Bahrpfeiff 8 Karin Nelson Couplers: OP/W, BP/W Ober Positiv (III) • CDEFGA-c3 Saturday, 15 September, 21.00 Principal 8 Cimbelstern Örgryte New Church Hollfloit 8 Vogelgesang Hans Davidsson, organ, with dancers Stayce Camparo and Jonathan Davidsson Rohrfloit 8 Trommel Octav 4 Sperrventiele: W, RP, OP, BP, Pedal Spitzfloit 4 Hauptsperrventiel Nassat 3 Tremulant Octav 2 Tremulant RP Gemshorn 2 Tremulant Pedal Scharff 6fach 12 bellows of 4’ x 8’ Cimbel 3fach Pitch and temperament: a1 = 465 Hz (at 19° C); Trommet 8 quarter-comma meantone Vox Humana 8 Subsemi-keys in all manuals: Zincke (from f°) 8 eb°/d#°, g#°/ab°, eb1/d#1, g#1/ab1, eb2/d#2 In RP, add: bb°/a#°, bb1/a#1, g#2/ab2 Pedal: eb°/d#°, g#°/ab° Interchangeable wind systems
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