DOCSLIB.ORG

The Art of Stylish Organ Improvisation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Art of Stylish Organ Improvisation The Art of Stylish Organ Improvisation Dr Michał Szostak Published in: Szostak Michał, "The Art of Stylish Organ Improvisation", in: "The Organ”, No 390, Nov.2019- Jan.2020, Musical Opinion Ltd, London, ISSN 0030-4883, pp. 20-27. Prologue The spontaneous musical activity of a man was the main source from which the entire musical culture of humanity was born. Before the musicians started composing their repetitive works, improvised music was used both for entertainment and for the needs of worship. For centuries, along with the development of instruments, the development of playing techniques has continued. The adaptation of organ for the use of the Western Church implied a dynamic development of this wonderful instrument. The flexibility of the liturgy meant that improvisation was the most optimal way of implementing live music during worships. In principle, until the early second half of the 19th century, improvisation was the dominant form of organ playing. At that time, organs in concert halls were located (e.g. Albert Hall in Sheffield, The Royal Albert's Hall in London, Palais Trocadéro in Paris), and regular concerts were organized there, during which organ literature began to appear regularly. The subject of this article is the issue of showing the methodology of the performer's approach to the art of stylish organ improvisation, which after a period of stagnation at the turn of the 19th and 20th century, has been experiencing its renaissance in recent decades. Detailed analyses will be provided on the base of the 19th-century French symphonic era, but the same approach and methodology can be used for each epoch and each style. Definitions The dictionary definition of improvisation is “to compose a work of art on the spot, spontaneously, often under the influence of emotion or on a given topic, without any preparation”1. The phenomenon of improvisation occurs in every field of art: in literature, music, theatre, or fine arts. Musical improvisation is a creation that combines elements of creativity and reproduction (performance)2 in a spontaneous and one-off process. In musical creativity, three types of improvisation are distinguished depending on the role of the performer-composer: 1) creativity based on a specific topic, in close communication with 1 The entry “improvisation”, in: Kopaliński Władysław, “Słownik wyrazów obcych i zwrotów obcojęzycznych”, Wydanie XVII rozszerzone, Wiedza Powszechna, Warszawa 1989, pp. 781-782. 2 Oleszkiewicz Jan, “I ty możesz improwizować”, Centrum Edukacji Artystycznej, Warszawa 1997, p. 7. 1 the form (e.g. fugue, variation, partita) or consisting in adding some of its elements to an existing work (e.g., parts, or implementation of basso continuo); 2) creativity consisting in introducing one's own part into an existing work (e.g. cadenza in an instrumental concert), and 3) creation which results in a completely new and independent work (e.g. free fantasy3, impression)4. Improvisation includes the tension between the objectivity of a given model (form) and the subjectivity of spontaneous production5. Musical improvisation, in the sense of experimenting, especially in monophonic cultures (e.g. Gregorian chant), was a phenomenon that preceded the formation of the first musical works: first tried out, then remembered and transmitted orally, and subsequently written. Improvisation is also credited with the rise of polyphony6. Over the centuries, new forms and achievements owe their development to improvisation; the treaties on improvisation began to emerge7. The development of keyboard instruments, including organs, was particularly favourable to improvisation. On the basis of classical music, organists remain today's leading improvisers8. Learning goals As in every field of art, as in the case of organ improvisation, the key is improvisational talent, which according to many is an unteachable element9 and educational process, fully taught and possible to convey10, aimed at shaping talent into a certain framework that allows the creator to communicate with the help of an artistic work with recipients. In artistic education, organ improvisation is a practical subject taught during group activities (e.g. secondary education) or individual (music academies and universities). It should be emphasized that the learning of improvisation brings the best results when it has the character of individual work, in the master- student relationship. In the education process, the student learns to construct and develop a musical theme in many ways. Due to the varying degrees of creative abilities and technical skills of adepts of improvisation, the scope of material used in the learning process is usually adjusted individually – to the level of the group and to the level of individual students. An important task in the process of educating the improviser is to help break down his mental barriers and launch any ideas aimed at arousing motivation and encouraging individual work on particular issues.11 3 Nowowiejski Feliks, “Improwizacja na organach”, in: “Muzyka kościelna”, rok II, nr 4, Poznań 1927, p. 78. 4 The entry “improvisation”, in: Chodkowski Andrzej, “Encyklopedia muzyki”, Wydawnictwo naukowe PWN, Warszawa 1995, p. 382. 5 The entry “improvisation”, in: Dahlhaus Carl, Eggebrecht Hans Heinrich, “Brockhaus Riemann Musiklexikon“, t. I, B. Schott’s Söhne, Mainz 1978, p. 580. 6 The entry “improvisation”, in: Chodkowski Andrzej, “Encyklopedia muzyki”, Wydawnictwo naukowe PWN, Warszawa 1995, p. 382. 7 The first are considered: 1) “Tratado de glosas” written by Diego Ortiza in 1553 and 2) “Arte de taňer fantasia” by Tomás de Santa Maria in 1565. See: the entry “improvisation”, in: Chodkowski Andrzej, “Encyklopedia muzyki”, Wydawnictwo naukowe PWN, Warszawa 1995, p. 382. 8 The entry “improvisation”, in: “Encyclopædia Britannica. Edycja polska”, tom 17, Wydawnictwo Kurpisz, Poznań 2000, p. 126. 9 See: Keller Hermann, “Schule der Choral-Improvisation für Orgel mit 121 Notenbeispielen”, Edition Peters, p. 4. 10 See: A. Guilmant, in: Dupré Marcel, “Traité d’improvisation à l’orgue”, Leduc, Paris 1937, p. III. 11 After: “Podstawa programowa dla przedmiotu ‘Improwizacja organowa’ w Akademii Muzycznej im. Karola 2 The results of learning process by the adept of the art of organ improvisation should be the following skills12: 1. the ability to reach necessary information (books, recordings, music materials), their analysis and interpretation in a proper, stylish way; 2. the ability to use knowledge of harmonics, metro-rhythmic aspects and the creation of forms and genres; 3. the ability to consciously use mutual relations between the theoretical and practical elements of the process of improvisation and the ability to integrate the acquired knowledge; 4. the ability to create, implement and express his own artistic concepts and independent improvisation based on his own creative motivations; 5. the ability to master the technical skills needed for professional improvisation; 6. the ability to practice in the right way, avoiding the hazards often resulting from daily hour-long contact with the instrument; 7. ability to deal with stressful situations resulting from public performances, including reactions to various acoustic conditions of interiors in which the improviser will perform; 8. ability to speak on the subject of interpreting, creating and reproducing music, and on issues related to broadly understood general humanist themes; 9. the ability to consciously use (through the ability of self-esteem) from his emotionality, imagination and intuition; this also applies to the ability to constructively evaluate the performances of other improvisers; 10. ability to use professional musical terminology in the field of improvisational activity. Studying methods The contemporary canon of organ improvisation textbooks includes the following items: 1) Dupré M., “Methode d'orgue” en deux Partie, Leduc, Paris 1927; 2) Dupré M., “Traité d'improvisation à l'orgue”, Leduc, Paris 1937; 3) Gaar R., “Orgel Improvisation”, Carus, Stuttgart 1996; 4) Schmid K. N., “Schule der Orgel Improvisation”, Regensburg 1981, and also 5) a recently published two-volume work (textbook and exercises) in Polish prof. Roman Perucki “Improwizacja organowa”13. From the historical position in the German circle, it should also be mentioned Keller’s “Schule der Choral-Improvisation für Orgel mit 121 Notenbeispielen”14. The improvisation course of Marcel Dupré's “Traité d'improvisation à l'orgue”, published in Paris in 1937, dedicated to Paul Fauchet, consists of the following sections: a) a detailed discussion of the technique of playing the organ; b) discuss the role of bass in song's harmony; c) presenting the elements constituting the musical theme; d) learning counterpoint; e) suites; f) fuge; g) variation and triptych; h) discussions on symphonic forms, i.e. Allegro, Andante, Scherzo and Final; i) discuss free improvisation on the example of purely musical forms (Fantasy, Rhapsody) and descriptive forms (Fileuse, Barcarole) and j) an allowance for improvisation used in the liturgy of the Roman Catholic Church, in which the author describes Lipińskiego we Wrocławiu”, Wrocław 2017. From: www.amuz.wroc.pl/download/10350 [2019/02/10]. 12 Ibidem. 13 Perucki Roman, “Improwizacja organowa”, handbook and practicebook, Wydawnictwo Akademii Muzycznej im. St. Moniuszki w Gdańsku, Gdańsk 2015. 14 Keller Hermann, “Schule der Choral-Improvisation für Orgel mit 121 Notenbeispielen”, Edition Peters. 3 the places in the liturgy accurately (matins, masses, vespers),
Load more

Recommended publications
  • Welcome to Shadyside Presbyterian Church
    Welcome to Shadyside Presbyterian Church We are grateful for your presence and invite you to participate in the worship, study, fellowship, and service of this congregation. If you are a guest with us this morning, our ushers are available to assist you. Following worship, we invite those who are new to the church to join us under the ficus tree in the Sharp Atrium, where New Member Committee representatives will greet you and answer any questions you may have. Nursery care is available for infants through three-year-olds during worship. Pagers are available. A cry room with an audio broadcast of worship is available downstairs in the Marks Room. Children in Worship – At 11:00 a.m., families with two- and three-year-olds are welcome to report directly to the Nursery. Four-year-olds through second-graders attend worship and may exit with their teachers before the sermon to participate in children’s chapel worship and Christian education. (If you are a first-time guest, please accompany your child to the Chapel, and then you may return to the Sanctuary.) Parents should meet their children in the Christian education classrooms after worship. On the first Sunday of the month, first- and second-graders stay in worship through the entire service for Communion. A bulletin insert designed for children is available in the Narthex. A video broadcast of worship is available in the Craig Room, accessible through the Narthex at the back of the Sanctuary. Flower Ministry – After worship, members of the Board of Deacons’ Flower Ministry divide the chancel flowers into bouquets to be distributed to individuals who are celebrating joyous occasions and to those who could use some cheer.
    [Show full text]
  • CHURCH ORGANIST Job Description Principal Function the Church Organist Is a Committed Christian Who Provides Organ Music And
    CHURCH ORGANIST Job Description Principal Function The Church Organist is a committed Christian who provides organ music and accompaniment for scheduled worship services and other activities in support of the music ministry of the church. Having a pivotal role in the musical life of the church, this individual is a strong team player, being a full partner with the ministerial staff and the Church Pianist of Shades Crest Baptist Church. Job Description This year-round position is defined as salary (no overtime pay), restricted part time. Expectation of attendance is for Sunday worship services, rehearsals with the Sanctuary Choir and the Orchestra, and other special services, including (but not limited to) Christmas and Easter. The work is done cooperatively, especially with the Music Minister and the Church Pianist. As a part of the musical leadership team of the church, the Organist is expected to advocate for the music program. Job Requirements 1. A disciple of Jesus Christ, committed to growing in faith through practicing the spiritual disciplines of prayer, Scripture study, worship participation, and service at and beyond Shades Crest Baptist Church. 2. Experience in church worship, with both organ and other music and hymnody (understanding and familiarity with blended worship preferred). 3. Flexibility to play in blended style services that include all types of worship music. 4. Knowledge of the instrument and keyboard ability sufficient to play hymns, songs, and anthem accompaniments. Ability to sight-read and improvise is desired. 5. High degree of competence on organ, and the ability to accompany groups and individuals. 6. Knowledge of basic music theory and ability to perform simple transpositions or harmonizations.
    [Show full text]
  • PIERRE COCHEREAU: a LEGACY of IMPROVISATION at NOTRE DAME DE PARIS By
    PIERRE COCHEREAU: A LEGACY OF IMPROVISATION AT NOTRE DAME DE PARIS By ©2019 Matt Gender Submitted to the graduate degree program in School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ______________________________ Chairperson: Michael Bauer ______________________________ James Higdon ______________________________ Colin Roust ______________________________ David Alan Street ______________________________ Martin Bergee Date Defended: 05/15/19 The Dissertation Committee for Matt Gender certifies that this is the approved version of the following dissertation: PIERRE COCHEREAU: A LEGACY OF IMPROVISATION AT NOTRE DAME DE PARIS _____________________________ Chairperson: Michael Bauer Date Approved: 05/15/19 ii ABSTRACT Pierre Cochereau (1924–84) was the organist of Notre Dame Cathedral in Paris and an improviser of organ music in both concert and liturgical settings. He transformed the already established practices of improvising in the church into a modern artform. He was influenced by the teachers with whom he studied, including Marcel Dupré, Maurice Duruflé, and André Fleury. The legacy of modern organ improvisation that he established at Notre Dame in Paris, his synthesis of influences from significant figures in the French organ world, and his development of a personal and highly distinctive style make Cochereau’s recorded improvisations musically significant and worthy of transcription. The transcription of Cochereau’s recorded improvisations is a task that is seldom undertaken by organists or scholars. Thus, the published improvisations that have been transcribed are musically significant in their own way because of their relative scarcity in print and in concert performances. This project seeks to add to this published collection, giving organists another glimpse into the vast career of this colorful organist and composer.
    [Show full text]
  • Rcco Toronto Centre Substitute Organist List
    RCCO TORONTO CENTRE SUBSTITUTE ORGANIST LIST Included in this list is the contact information for organists in the Greater Toronto Area who are available as substitutes. Several of the organists on this list have provided a short biography detailing their experience, which you can read on the following pages of this document. If you would like to be added or removed from this list, please email Sebastian Moreno at [email protected]. You must be a current Toronto Centre RCCO member to appear on the list! Name Phone E-mail Location Peter Bayer (703) 209-5892 [email protected] Toronto Paulo Busato (416) 795-8877 [email protected] Toronto John Charles (289) 788-6451 [email protected] Toronto/ Hamilton J.-C. Coolen (905) 683-5757 [email protected] Ajax Patrick Dewell (647) 657-2486 [email protected] Toronto Quirino Di Giulio (416) 323-1537 [email protected] Toronto Kelly Galbraith (416) 655-7335 [email protected] Toronto Marianne Gast (416) 944-9698 [email protected] Toronto William Goodfellow (416) 694-3753 [email protected] Scarborough Kimberly Hanmer (416) 417-1325 [email protected] Toronto/ Hamilton Christine Hanson (647) 460-7027 [email protected] Toronto Paul Jessen (416) 419-6904 [email protected] Toronto Glenn Keefe [email protected] Toronto Matthew Larkin [email protected] Toronto/ Ottawa Sebastian Moreno (647) 278-5559 [email protected] Mississauga/ Toronto Gerald Martindale (647) 458-0213 [email protected]
    [Show full text]
  • Part-Time Organist / Choirmaster
    JOB DESCRIPTION: PART-TIME ORGANIST / CHOIRMASTER Organization / Position The Church of St. Mark located in Crown Heights, has been serving Brooklyn for over 180 years. It is a church with an Anglo-Catholic liturgical tradition and it is commonly referred to as the cathedral on the hill. St. Mark’s is a program size church with three services on a Sunday at 7:30AM, 9AM and 11:15AM. The church has a rich choral tradition and organists enjoy playing the Opus 143, electric-slide action, 3 manuals, 45 stops, 36 ranks organ. St. Mark’s Church seeks a part-time organist / choirmaster to further enhance the vibrant music ministry. The candidate must have an aptitude for the Anglican & classical music tradition as well as gospel and jazz. Responsibilities Church Services: Play and direct music at the 11:15AM Sunday Services and occasionally at the 7:30AM services. Play and direct music at assign special services such as Christmas Eve, Christmas day, New Year’s Eve, Ash Wednesday, Maundy Thursday, Good Friday, EvenSong, Lessons & Carols, major ordinations or celebrations and weddings and funerals. Choir Director: Select, review and arrange music for services and provide the necessary information in a timely manner for the preparation of the service bulletin. Prepare for and conduct weekly rehearsals, pre-service warm-up rehearsals and others as deemed necessary. The choir is used to singing anthems every Sunday and the congregation sings the entire mass along with the choir. Where necessary, sort out and select instrumentalist to accompany the choir. Purposefully recruit and encourage parish volunteers with musical talent to become choir members.
    [Show full text]
  • Silent Film Music and the Theatre Organ Thomas J. Mathiesen
    Silent Film Music and the Theatre Organ Thomas J. Mathiesen Introduction Until the 1980s, the community of musical scholars in general regarded film music-and especially music for the silent films-as insignificant and uninteresting. Film music, it seemed, was utili­ tarian, commercial, trite, and manipulative. Moreover, because it was film music rather than film music, it could not claim the musical integrity required of artworks worthy of study. If film music in general was denigrated, the theatre organ was regarded in serious musical circles as a particular aberration, not only because of the type of music it was intended to play but also because it represented the exact opposite of the characteristics espoused by the Orgelbewegung of the twentieth century. To make matters worse, many of the grand old motion picture theatres were torn down in the fifties and sixties, their music libraries and theatre organs sold off piecemeal or destroyed. With a few obvious exceptions (such as the installation at Radio City Music Hall in New (c) 1991 Indiana Theory Review 82 Indiana Theory Review Vol. 11 York Cityl), it became increasingly difficult to hear a theatre organ in anything like its original acoustic setting. The theatre organ might have disappeared altogether under the depredations of time and changing taste had it not been for groups of amateurs that restored and maintained some of the instruments in theatres or purchased and installed them in other locations. The American Association of Theatre Organ Enthusiasts (now American Theatre Organ Society [ATOS]) was established on 8 February 1955,2 and by 1962, there were thirteen chapters spread across the country.
    [Show full text]
  • Gerald Near—List of Music for Organ, Organ Transcriptions, Organ and Instruments, Harpsichord and Hymns with Annotations Prepared by Steven Egler, Revised March 2017
    Gerald Near—List of Music for Organ, Organ Transcriptions, Organ and Instruments, Harpsichord and Hymns with Annotations Prepared by Steven Egler, Revised March 2017 AE=Aureole Editions MSM=MorningStar Music Publishers OP=Out of Print Organ Solo Carillon on a Ukranian Bell Carol. AE, 2006. AE151. Dedicated to Dr. Steven Egler. Note: Based upon the familiar “Carol of the Bells.” Chantworks: Organ Music for the Church Year based upon Gregorian Chant melodies. Set I—Advent, Christmas, Epiphany. AE, 1997. AE42. 1. “Veni, Veni Emmanuel” (“O Come, O Come Emmanuel”)-- Advent 2. “Conditor Alme Siderum” (“Creator of the Stars of Night”)-- Advent 3. “Vox Clara Ecce Intonat” (“Hark! A Thrilling Voice Is Sounding”)--Advent 4. “Divinum Mysterium” (“Of the Father’s Love Begotten”)-- Christmas 5. “O Solis Ortus Cardine” (“From east to west, from shore to shore”)--Christmas 6. “Christe, Redemptor Omnium” (“Jesu, Redeemer of the world”)—Christmas; Partita: Theme & Four Variations 7. “A Sola Magnarum Urbium” (“O More Than Mighty Cities Known”)--Epiphany Set II—Lent, Passiontide, Easter. AE, 1998. AE43. 1. “Audi, Benigne Conditor” (“O Master of the world, give ear”)-- Lent 2. “Jam, Christe, Sol Justitæ” (“Now, Christ, Thou Sun of righteousness”)—Lent 3. “Ex More Docti Mystico” (“The fast, as taught by holy lore”)— Lent 2 4. “Vexilla Regis Prodeunt” (“The royal banners forward go”)— Passiontide 5. “Pange Lingua Gloriosi” (“Sing my tongue the glorious battle”)—Passiontide 6. “Lustris Sex Qui Jam Peractic” (“Thirty years among us dwelling”)—Passiontide 7. “Ad Cœnam Agni Providi” (“The Lamb’s high banquet we await”)—Easter 8. “Aurora Lucis Rutilat” (“Light’s glittering morn bedecks the sky”)—Easter Set III—Ascension, Pentecost, Trinity, Corpus Christi, Morning, Evening.
    [Show full text]
  • Organ Recital David H
    Organ Recital David H. Brock February 2, 2020 • 5:15 pm Prelude and Fugue in A minor, BWV 543 (ca. 1710) Johann Sebastian Bach (1685–1750) from The Jazz Gospel (1999) Joe Utterback I. Spirit of God, Descend upon My Heart (b. 1944) III. Just a Closer Walk with Thee Organ Concerto in F major, HWV 293 (ca. 1735) George Frideric Handel (1685–1759) Transcription for solo organ David H. Brock Please remain seated while a free-will offering is received for the continued maintenance of the Cathedral organ. We suggest a donation of $10 per person and appreciate your generous support. from Suite for Organ (1933–34) Leo Sowerby III. Air with Variations (1895–1968) from Livre œcuménique, Op. 157 (1968) Jean Langlais IX. Kyrie ("Orbis factor") (1907–1991) I. Sacris solemniis VI. Mon âme exalte le Seigneur II. De fond de ma détresse, je crie vers Toi IV. Notre Dieu est une puissante forteresse David H. Brock started his professional musical career at age 11 as a treble chorister in the Washington National Cathedral Choir of Men and Boys (1972–76), under the direction of Paul Callaway. Among his numerous memorable experiences, he sang solos at the White House, the John F. Kennedy Center, and on national television from the Cathedral. David continued his studies at Swarthmore College with Robert Smart (organ and accompanying) and Gerald Levinson (composition). From 2001–07 David served as Director of Music and Organist at St. Patrick’s Episcopal Church, Incline Village, Nevada. In 2004 David was awarded an Associate Certificate of the American Guild of Organists (AAGO).
    [Show full text]
  • THE AEOLIAN SKINNER ORGAN History of the Organ
    THE AEOLIAN SKINNER ORGAN History of the Organ The first organ in Saint Paul’s present building was designed by Charles Courboin, organist of Saint Patrick’s Cathedral, and built by the E.M. Skinner Organ Company of Boston. The instrument, three manuals with 43 ranks, was situated in the space behind the reredos and in an attic chamber high above the nave, with sounds coming through openings in the wooden ceiling of the church. It was a superb example of the Romantic orchestral organ, possessing a warm sound, rich in color. It was at its best in transcriptions of music writ- ten for orchestra and organ music of the late nineteenth and early twentieth century. However, like most organs of the period, it lacked the clarity necessary for the performance of Bach, and the intensity implied in the great French school of organ composition. In the early 1950’s, Saint Paul’s Vestry began to address the deteriorating mechanical condition of the Skinner organ and its musical limitations. A contract was signed in 1953 with the Aeolian-Skinner Organ Company of Boston to re- build the instrument as part of the church’s centennial cele- bration. G. Donald Harrison, president and tonal director of the firm, worked with Thomas Dunn, organist at Saint Paul’s, in developing a completely new instrument of “American Classic” design. The “American Classic” concept, Harrison’s own creation, was eclectic. It combines the best elements of several traditions: the seventeenth-century German organ, the nineteenth-century French symphonic organ and the English cathedral or- gan for which so much Anglican church music is written.
    [Show full text]
  • How Do We Choose a New Organ?
    Worship Formation & Liturgical Resources: Frequently Asked Questions How do we choose a new organ? The worship staff receives a number of similar inquires on worship-related topics from across the church. These responses should not be considered the final word on the topic, but useful guides that are to be considered in respect to local context with pastoral sensitivity. The response herein may be reproduced for congregational use as long as the web address is cited on each copy. Choosing a new musical instrument to lead singing in worship can seem daunting. A thoughtful approach, however, will result in a wonderful blessing for your congregation. Remember that this is a big decision, one that is not made often in the life of a congregation. You will want to take care that all options are thoroughly investigated. For example, is the congregation looking to purchase a pipe organ or an electronic organ? The latter will be more costly in the short run, but will last for many, many years if maintained properly. Electronic organs do not require as significant funds up front, but will need replaced more often. If choosing a pipe organ, will the organ be an electronic- pneumatic organ or a mechanical action (tracker) organ? With any of these decisions, the options need to be weighed carefully without rushing the process. You will also want to be open to exploring new possibilities, even if they seem unlikely at first. The first step is to form a selection committee. The group should include several interested persons from the congregation, as well as the parish musician and pastor.
    [Show full text]
  • Ludwig Van Beethoven: the Heard and the Unhearing
    Bernhard Richter / Wolfgang Holzgreve / Claudia Spahn (ed.) Ludwig van Beethoven: the Heard and the Unhearing A Medical-Musical-Historical Journey through Time Bernhard Richter / Wolfgang Holzgreve / Claudia Spahn (ed.) Ludwig van Beethoven: the Heard and the Unhearing Bernhard Richter / Wolfgang Holzgreve / Claudia Spahn (ed.) Ludwig van Beethoven: the Heard and the Unhearing A Medical-Musical-Historical Journey through Time Translated by Andrew Horsfield ® MIX Papier aus verantwor- tungsvollen Quellen ® www.fsc.org FSC C083411 © Verlag Herder GmbH, Freiburg im Breisgau 2020 All rights reserved www.herder.de Cover design by University Hospital Bonn Interior design by SatzWeise, Bad Wünnenberg Printed and bound by CPI books GmbH, Leck Printed in Germany ISBN 978-3-451-38871-2 Words of welcome from Nike Wagner Bonn is not only the birthplace of Beethoven. The composer spent the first two decades of his life here, became a professional musician in this city and absorbed here the impulses and ideas of the Enlightenment that shaped his later creative output, too. To this extent, it is logical that Bonn is preparing to celebrate Beethoven with a kind of “Cultural Capital Year” to mark his 250th birthday. In this special year, opportunities have been cre- ated in abundance to engage with the “great mogul,” as Haydn called him. There is still more to be discovered in his music, as in his life, too. In this sense, a symposium that approaches the phenomenon of Beethoven from the music-medicine perspective represents an additional and necessary enrichment of the anni- versary year. When I began my tenure as artistic director of the Beethoven- feste Bonn in 2014, I set out to bring forth something that was always new, special and interdisciplinary.
    [Show full text]
  • Director of Music/ Organist
    DIRECTOR OF MUSIC/ ORGANIST City View United Church 6 Epworth Ave Ottawa, ON K2G 2L5 Hours of Work – 10-12 hours/ week Summary Music is an integral part of the life of City View United Church (CVUC). We are looking for a Director of Music / Organist to lead the music ministry in our church beginning this fall (Position is available effective September 1, 2021). This involves selecting, conducting, and playing a variety of styles of organ, piano and choral music appropriate for our worship services. Our congregation’s website is www.cityviewunited.org . The ideal candidate should have experience playing an organ and conducting choirs. Familiarity and experience working in a church environment is also desired. We have an adult SATB choir of 15-20 members. Our instruments include a Johannus Sweelinck 37 – 3 manual organ, a Samick grand piano, and a Technics P30 keyboard & synthesizer, and drum kit. Current State During COVID-19 COVID-19 has impacted our environment in a major way and indeed we are looking for a candidate who can help lead City View into a post COVID musical environment. City View’s workplace policy during the pandemic was to have staff work remotely from home unless it is essential to be on site. Since March 2020, CVUC has pre-recorded its weekly worship services for viewing on YouTube. Services were videotaped in advance with only the minister and readers in the sanctuary. The Music Director recorded the hymns on his piano at home and emailed them to the video editor who incorporated them into the service.
    [Show full text]