2024 INTERFACES

I N T E R N A T I O N A L

O R G E L P A R K

S Y M P O S I U M

2 0 2 4

I N T E R F A C E S

The 2024 edition of the International Orgelpark Symposium focused on interfaces in the widest sense, interface not only being a useful word for the consoles that allow organists to play organs, but also for the space(s) where the fields of the organ and that of the church touch one another, if not overlap. These are of course just two examples. Many more perspectives on what interfaces are in terms of the organ are possible – as the symposium indeed documented.

Since the inauguration of the Utopa Baroque Organ in 2018, the hyperorgan is becoming a factor in ever more places worldwide, questioning interfaces in each of them on many levels. Typical for the Orgelpark hyperorgan is that both constituting instruments (the Utopa Baroque Organ and the Sauer Organ) represent historical, and, what is more, uncompromised sound concepts. The Orgelpark's vision is that there is no need to adapt historical organs anymore to today's tastes. Adding a digital layer of technology appears fully sufficient, as it explodes the number of sonic options organs can offer musicians and artists.

Next level historically informed performance practices

As it turns out, and this is new, hyperorgan technology is not only relevant in terms of inspiring new music. It also happens to question standing opinions, habits, and insights regarding historically informed music making, and, in its slipstream, historically informed organ building.

The 2024 International Orgelpark Symposium addressed all these issues – and more, as the program included quite a few 'artist presentations' as well, i.e. moments for artists working with organ sound to present themselves and their work.

S Y M P O S I U M D A Y 1 / T H U R S D A Y / J U N E 6

WELCOME & MUSIC

Hans Fidom / Jasmine Karimova

KEYNOTE: NEW DEVELOPMENTS IN WÜRZBURG

Hannes Ritschel