Organ matters - Organs matter!

http://www.zhdk.ch/index.php?id=18973


Google translation:

QuoteThe action  "Orgelfanfare 2011" calls to mind, that the cultural organ and organ playing without an active maintenance and appreciation of danger to get sidelined: The young organist has rapidly declined in the last 10 years. In some places, pipe organs are replaced by electronic ones. Chance of resignations are already held in chapels with organs from only with organ playing and song accompaniment CD.Organ concerts are held in concert halls rather rare. Let us rejoice therefore, of all places, where instruments are intact and have a competent organists!

Organ Psalm by Michael G. Kaufmann
The organ is a European heritage, they are found in countless churches and halls. The organ accompanies people her entire life, from cradle to grave. The organ is a carrier of the Christian message. The organ is "pull out all the stops." for The organ is holistic. The organ has infinite breath. The organ is genuine, there is no substitute for it. The organ is a vision. The organ is very small, but very large. The organ is limitless. The organ is the . only queen in our democracy is no other instrument has as much cosmos: When the organ plays, listening to all!
Orgelpsalm von Michael G. Kaufmann
Die Orgel ist ein europäisches Kulturgut, man findet sie in unzähligen Kirchen und Sälen.Die Orgel begleitet Menschen ihr ganzes Leben, von der Wiege bis zur Bahre.Die Orgel ist ein Träger der christlichen Botschaft.Die Orgel steht für ,,alle Register ziehen."Die Orgel ist ganzheitlich.Die Orgel hat unendlichen Atem.Die Orgel ist echt, für sie gibt es keinen Ersatz.Die Orgel ist eine Vision.Die Orgel kann sehr klein, aber auch sehr groß sein.Die Orgel ist grenzenlos.Die Orgel ist die einzige Königin in unserer Demokratie.Kein anderes Instrument hat so viel Kosmos: Wenn die Orgel spielt, hören alle hin!

This topic has been moved to The Zurich Resolution 2011.

http://www.organmatters.com/index.php?topic=929.0

Quote from: KB7DQH on September 11, 2011, 03:38:25 AM
I am curious as to what published proceedings are (or will become) available ??? ??? ??? ???

Apart from the annual conventions of the Organ Historical Society, American Guild for Organists, and the American Theater organ Society, and some panel discussions which take place from time to time,

NOTHING on the scope nor scale of the symposium
"Organ 2011"
in Zurich this weekend

has occurred in "recent memory" to my knowledge... anywhere.

One can hope this becomes an International Annual Event... with different host organizations throughout the world... as the subjects being addressed at this symposium are NOT unique to the European subcontinent...

Eric
KB7DQH

The timing reasons and intentions of both this the Symposium and the setting up of this forum are so simultaneous and inspired by the same thoughts that it is hoped that this forum can enable the Symposium subjects to be explored and developed beyond the time and place of the Symposium.

(It is my personal opinion that this coincidence is proof that both organs and the workings of "God" have a place in this world that is greater than is currently perceived. It is for this reason that there is a section in this forum for Faith and recent posts include descriptions of quantum physics concepts, especially "entanglement" of information experienced by particles. Wider perceptions of these realities may mean that both churches and organs are less endangered.)

Best wishes


Forum Admin

In preparation for the Symposium 35 national organisations and private
individuals were asked to compile a report on the situation of the organ
in their country. These reports had two objectives: one, as a tabular survey
(at least for those countries where concrete numbers existed), the
other, as documentation on the organs in churches, organ building and
restoration practices, the translocation of organs, organ-playing in general
and the schooling of organists, as well as their future perspectives
in the profession. In addition, the university situation was taken into account,
the concert scene described and questions concerning the advancement
and support for organ instruction for children and teens discussed.
Individual national reports will be presented at the Symposium.


The following authors have made contributions for their countries:


Austria Prof. Mag. Dr. Wolfgang Kreuzhuber
Belgium Prof. Dr. Jean Ferrard
Bulgaria Prof. Ulrich Theißen
Croatia Mag. Art Zdenko Kuscer
Czechia Jan Dolezel, Adam Viktora
Denmark Prof. Bine Bryndorf, Ole Olesen
Estonia Külli Erikson, Alexander Eckert
France Dr. Kurt Luders
Germany Prof. Dr. Michael Gerhard Kaufmann,
KMD Prof. Dr. h.c. Christoph Bossert
Great Britain John Norman, Simon Williams
Hungary Balázs Szabo
Iceland Hörður Áskelsson
Ireland Prof. Dr. Gerard Gillen
Italy Vincenzo De Gregorio
Latvia Alvis Melbardis, Külli Erikson
Lithuania Rimantas Gučas
Luxembourg Laurent Felten
Montenegro Mag. Art Zdenko Kuscer
Norway Prof. Bjørn F. Boysen
Poland Krzysztof Urbaniak
Portugal Prof. Dr. João Vaz
Romania David Homolya
Russia Prof. Eugenia Krivitskaia
Serbia Mag. Art Zdenko Kuscer
Slovakia Prof. Dr. Jan Michalko
Slovenia Dr. Edo Skulj
Spain OBM Gerhard Grenzing
Sweden Niclas Fredriksson, Göran Grahn, Johan Norrback,
Henrik Tobin
Switzerland Dr. Bernhard Billeter, Dr. Marco Brandazza
The Netherlands Bert Wisgerhof
Ukraine Dmytro Tytenko

Main Presentation
«Future Visions for the Organ in European Cultural Life»
with Prof. Bernard Foccroulle (Belgium/France)

Moderation Prof. Dr. h.c. Daniel Fueter
Prof. Michael Eidenbenz
Dr. Oliver Hilmes
Prof. Isabel Mundry
Roland Wächter



What is the significance of the organ in today's society? Has the organ
degenerated to mere atmospheric background for weddings and funerals?
How strongly does the organ's significance depend on the significance
of the church in society? Is there a typical «organ concert audience
»? Is the organ's sound taken notice of outside the church's liturgy?
What importance does the organ have in concerts today, and what importance
does it have in the media? Have the audiences of organ concerts
really diminished in number, or does the general public simply take little
notice of organ concerts because they take place in churches and are rarely
reviewed? Are there national differences or generally established tendencies
with regard to the organ's attractiveness? Does the pipe organ
play a role in contemporary music? What challenges do today's composers
face when writing for the organ? Are there experiences with and ideas
about increasing the instrument's attractiveness? What is the importance
of professional culture promotion for the organ? Can professional
music schools have any influence on an instrument's popularity, or at least
reinforce tendencies or counteract them?

About Us



In 2007, during the joint organ convention of the Society of the Friends of
the Organ (Gesellschaft der Orgelfreunde) and the Austrian Friends of the
Organ in Graz (Austria), the question was raised: «Organum, quo vadis?».
Initially, the AGSO (Council for Historic Organ Preservation) under the initiative
of the organists Dr. phil. Bernhard Billeter (Zurich), Prof. Rudolf Meyer
(Winterthur) and OBM Wolfgang Rehn (Männedorf) looked further into
the matter, and were soon followed by Dr. Marco Brandazza (Organ Documentation
Centre Lucerne), Prof. Dr. Michael G. Kaufmann (OrganExpert),
Frank Mehlfeld (Rapperswil) and Dr. Markus T. Funck (Klettgau).
The Association «Organ2011» and the Zurich University of the Arts are
responsible for the organisation of the Symposium (Prof. Beat Schäfer,
Project Director, Simon Reich, Project Manager and PR). A committee of
organ teachers from German Swiss Universities and a group of organ specialists
served as advisors for the Symposium.

Presentation and Passing
of the Resolution «Organ 2011»


Prof. Dr. Michael G. Kaufmann



In preparation for the Zurich Symposium «Organ 2011», a thesis paper
has been created by the members of the work group. This paper was critically
read and commented on by a number of leading figures of the socalled
«organ scene». The evolved version is presented to the assembly
of the participants as the «Zurich Resolution 2011» and recommended
for acceptance.


The declaration has several parts: first, an introduction on the importance
of the musical instrument organ for the society as a whole in the present
and in the future, then a list of developments which, should they continue
unbridled, ultimatly would lead to the loss of the organ culture in general.
This is followed by suggestions for the improvement of the situation of
the organ in our society. The goal is to sensitise persons responsible in
politics, religion and culture and to motivate them to obtain a reflected
position towards the instrument and the related professional group as a
bearer of this culture.


According to the the definition of the term «resolution» in the dictionary
(«written declaration by an assembly based on an appropriate decision
(...), in which certain demands are raised and justified»), all participants
are invited to declare their agreement by signature and thus adding the
needed ponderosity for the resolution's appreciation in the national and
international public.

Elisabeth Berner, Orgel
Tony Renold, Schlagzeug



Churches and jazz clubs have in common that their music is improvised –
but what happens when the two worlds meet? Our idea in improvising together
is to mesh the rhythmic and harmonic elements of jazz with the
specific sound of the organ

KMD Burkhart Goethe



In the heyday of classical organ building the exterior of the instrument
was, in most cases, designed by the builder himself, whereas in the beginning
of the 19th century repeatedly architects and master builders interfered
in the styling of the organ. This might or might not have been of
profit in every case. A general accordance about the architectural style
and the ornamentation ended no later than with the Art Nouveau.
The new objectification in the design of the organ appearance around the
mid-20th century often revealed deficits in configuration and led to a blossoming
of historicism around 1980. At the beginning of the 21st century,
the design of organs is increasingly caught between client, architect and
organ builder. This area of tension often leads back to a similar decoupling
of sound, technology and design as already observed around 1900

On the present situation of organ building world-wide, and specifically in

Great Britain, and an attempt at predictions for the future.


Organ building cannot remain untouched by financial crises and its consequences.
Neither financial experts nor politicians can agree on how the
financial situation will develop over the next years. So how can the poor
organ builder be expected to accurately assess the situation? He cannot,
but he can guess at how things could evolve. Earlier financial crises have
taught him that his situation pretty much corresponds to the general global
economic situation, taking effect for him with some delay. Even being
able to foresee only a little can offer a glimmer of hope. But is that enough
to make concrete plans for the future? John Mander consults his crystal
ball in the hope of shedding some light on this subject.

Johann Sonnleitner


An Organ for Music in «Extended Tonality»*



Tuning: Concert pitch c = 128 Hz, a′ = 429 Hz.
Unequal temperament (Johann Sonnleitner)
Three fifths (c – g, g – d, d – a) 1/6 comma narrow,
Six fifths (a – e, e – h, h – f-sharp and e-flat – b-flat, b-flat – f, f – c)
1/12 comma narrow,
Three pure fifths (f-sharp – c-sharp, d-flat – a-flat, a-flat – e-flat).
From each of the 12 notes one tunes an «Alphorn-Fa» 11/8, giving a
nearly perfect 24-note cycle of harmonic fourths.
The pipes are arranged in third-seventh divisions to benefit the natural
sevenths 7/4 that are somewhat disadvantaged because of the quartertone
tuning.


* In «extended tonality» the major and minor scales after slight adjustments
in accordance with the proportions of the harmonic series from
the eighth to the 14th harmonic (in the major mode) and their inversion
(for the minor mode). Slightly tempering the exact mathematic relationships
makes enharmonic transformations possible.

Wolfgang Sieber, Organist
Gabriela Schöb, Cantor
Frieder Furler, Theologian



Short insights and statements from the three interfacing areas of theologist,
organist and cantor. There is to hear, to see, to reflect and to give
form. A mirror is held up, we become very still, then comes the surprise
and you will be initiated!

Prof. Daniel Glaus
Prof. Pascale Van Coppenolle



Engineering, instrument building and music history have revolutionized
organ building. A research project directed by the organist and composer
Daniel Glaus goes to the heart of the organ: to its wind. The organ's wind
has always represented the immutable principle of church music, but now
flexible wind opens a range of sonic possibilities that surpasses even the
boldest expectations. Three working prototypes were built of an organ
that can change its dynamics and timbre on the basis of key pressure,
thus leading to new possibilities in technique and expression. The organ
was developed using conventional mechanical construction techniques.
Particular attention was given to practical matters. The prototypes were
shown in many concerts, and compositions were commissioned that
made use of the new capabilities of the INNOV-ORGAN-UM. The project
generated great interest in the scientific community and in the musically
interested public. In November 2011, a fourth prototype in combination
with a conventional organ will be inaugurated in the city church in Biel.

An Organ Concert (not only) for Children


«Elfriede the Cherry»



Prof. Christiane Michel-Ostertun
Eva Martin-Schneider



After a story by Gerhard Engelsberger
Arranged by Eva Martin-Schneider
With music composed and performed by Christiane Michel-Ostertun
Elfriede the cherry is a very special cherry. She does not want to be eaten.
Instead, she learns English so that one day she can immigrate to Australia.
But everything turns out differently, because she falls in love with the
moon. Gerhard Engelsberger describes in his story just how she tries to
get to know the moon better and how the tired cherry finally turns into a
wonderful cherry tree.
This story is like «Peter and the Wolf» in that each character has her or
his own theme which we hear when the story speaks of that character.


What better way to become acquainted with the organ than with the help
of a story!


This special organ concert lasts about 30 minutes and is for all children
3 years old and older.


After the concert, Christiane Michel-Ostertun will speak of her other organ
concerts for children and will report on her experiences in numerous
concerts.

OBM Siegfried Adlberger, Organ advisor of the diocese Linz



The organ, for centuries indispensable in our churches, is obviously in
question. Thus, in recent years many parishes have acquired electronic
imitations. In the best case this imitation stands next to the organ so that
both instruments can be used, in the worst case however, the organ is
removed without replacement or disregarded when churches are being
altered or newly built.
The reasons mentioned are primarily economic and the seemingly barely
audible differences between imitation and organ, but also reasons of placement.
In addition, excellent solutions such as the installation of the Rudigier
organ in St. Mary's dome in Linz are hardly possible any more because
of monument protection reasons. Church music is similarly affected
as the instrument making.
The best reasons for organ acquisitions still are authenticity and sustainability.
If the organ is to remain the musical instrument of the future, all
are challenged : parishes, church leaders, musicians, architects charged
with church constructions and alterations, the monument protection authorities
and, last but not least, the organ builders who must give even
greater effort to produce instruments of high quality.

Presentation of an Interdisciplinary Project
of the Lucerne Music Academy
Prof. Elisabeth Zawadke and Students
of the Lucerne Music Academy



What motivates young composers today to write church music? To what
degree does the instrument itself inspire the youngest composer generation?
How do young organists prepare contemporary works for performance
and incorporate them into a liturgical framework?
These are questions that a workshop at the Hochschule Lucerne-Music
would like to consider more closely. At the suggestion of the organ class
of Elisabeth Zawadke, an interesting cooperative project took place at the
Department for Church Music (Markus Zemp, department head). Composition
students were introduced to the technical and acoustic details
of the organ as well as to questions of liturgy. They then wrote compositions
that dealt with both the instrument and with a given liturgical context.
Finally, the composers worked with students from the organ class
to prepare the pieces for performance. This lead to interesting exchanges
and often to quite surprising results.
The workshop would like to give you a closer look at this «newest church
music», with compositions by Maurus Conte, Lea Danzeisen und Jannik
Giger, played by Daniela Achermann, Heidi Bollhalder, Yuliya Sadykava
und Christina Tanner

Ways to the Organ in Church Community Life
Annegret Kleindopf



Since 2006, the project «Old Organs for Young People» is conducted at
the Stade Organ Academy with the generous support from the Evangelical
Lutheran Church of Hanover. In the organ landscape between the Elbe
and the Weser, children and adolescents are made familiar with the organs
of their native land and the entire region. The spread ranges from
organ tours for child and youth groups over a children's organ day up to
the annual Youth Organ Forum Stade which provides the opportunity for
the 12 to 18 years olds to deal in depth with the splendid instruments of
Stade and ist surroundings.
Approximately 20 participants from Germany and Great Britain come together
for a week. Morning and evening devotions arranged by young
people, lessons with renowned teachers, practising and a final concert
with all participants form the musical framework. In addition, all sing together,
friendships develop, and self-confidence and motivation are
strengthened.
Not having to hide in their own community and from their peers opens up
new perpectives for the young organists

Prof. Maria Rapp



Many things speak against learning the organ at an early age: particular
physical demands, piano skills whenever possible, difficult conditions for
practicing and a literature that is largely shaped by liturgical needs. Why
should young people today choose the organ as an instrument?
Can less limited stylistic models, unusual instrumental combinations or
digital instruments make the organ attractive for young people? How
might a digital «update» for organ teaching on music schools look?
Based on supply and demand, this paper hopes to contribute to the discussion
of the question whether organ teaching in music schools is
worthwhile and if yes, how such teaching might look in the future

Moderation Prof. Dr. Michael G. Kaufmann
Philipp Klais
Andreas Ladach
Prof. Rudolf Meyer
Prof. Dr. Johann Trummer



Organs have, aside from their artistic importance as a musical instrument,
also a great financial value: High mental, technical and financial
capabilities have to be mobilised to build an organ; the task often extends
over a long period and demands immense resources. As a rule, an organ
is designed for a very specific space (church, hall, parlour, cinema etc.)
in which it can develop its full tonal potential; this is its «home».
Although most of the instruments are of impressive construction they still
remain, in contrast to the immobile buildings they are in, a sort of «furniture
». In a way they therefore are «mobile» since they can be disassembled
and set up again elsewhere, should the external circumstances
change.
In this podium discussion, the resulting problems are to be debated and,
based thereon, appropriate decisions are to be made. The discussion will
also include the significance of the unity of space, instrument and sound,
selling organs in order to purchase a better instrument or out of necessity
and lack of money or other reasons, and the characteristics of a positivist-
oriented industry transforming the spiritual need of the people into
a dependance and exploiting this for its own sake.
Yet an organ is an individual – and deserves to be treated that way!

Moderation Prof. Dr. Alois Koch, Vicar General Dr. Josef Annen,
Prof. Dr. Ralph Kunz, Prof. Dr. Andreas Marti,
KMD Dr. Britta Martini,
Church Council President Pastor Michel Müller-Zwygart
acoustic refreshment: Music with
Nadja Räss, Jodel; Heinz della Torre, Hälmi;
Janosch Marini, Beatboxing; Feliciano Ponce, Rapper;
Wolfgang Sieber, Concept & Organ



The organ is still a church fixture and organ music still an integral part
of Christian worship. However, the integrity of this 1000-year old convention
is dwindling – at least in the church setting where other sounds are
increasingly being heard. The podium discussion on the organ in ecclesiastical
context seeks to express this topicality from the perspective of
pastors and church musicians, theologians and church councils. Furthermore,
perspectives of church organ music will be discussed – with the
involvement of questions on the future positioning of Christian worship
in our society.