From 2008 until 2011, the Orgelpark Research Program included a three-year project on Improvisation. The specific sound character of each organ flourishes optimally in music that is specifically made for it - which is one of the reasons that organists never have stopped improvising. How did the art of improvisation develop through the centuries, what relevance was ascribed to it by, say, musicians such as Johann Sebastian Bach, and how to analyse improvisations? Answers to these and other questions are documented in Orgelpark Research Report #3. This Report contains dozens of music examples, functioning as ever so many "artistic arguments" in the texts.


The three possibilities for reading this Report can be found at the right of this page. These include: online (with audio), offline (without audio) and on papier. To receive the paper version, you will be asked to fill in a form.




Bruce Ellis Benson

In The Beginning, There Was Improvisation


Peter Planyavsky

Organ Improvisation in the Past Five Decades

European Improvisation History: Anton Heiller


Pamela Ruiter-Feenstra

Bach and the Art of Improvisation


Sietze de Vries

The Craft of Organ Improvisation


Bernhard Haas

Improvisation, C.Ph.E. Bach, César Franck and Albert Simon


Mary Oliver

Analyzing Improvisations: The Constellation Model


Hans Fidom

Listening as a Musicological Tool: Real Time Analysis


Béatrice Piertot

Treatises about Improvisation on the Organ in France from 1900 to 2009


Columba McCann

Marcel Dupré


Gary Verkade

Teaching Free Improvisation


Vincent Thévenaz

A Contemporary Improvisation on a Baroque Theme and a Romantic Organ


Jacob Lekkerkerker

To be a Dancer at the Organ


Giampaolo Di Rosa

The Improvisation Process


Ronny Krippner

English Organ Improvisation in the 20th and 21st Centuries

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