2016 UTOPIC BAROQUE [2]

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 1 6

 

ELECTRIFYING BAROQUE

THE NEW BAROQUE ORGAN AT THE ORGELPARK

 

 

 

The ‘New Baroque Organ’ the Orgelpark is building is meant to facilitate historically inspired/informed performances of baroque organ music and to inspire today’s composers and musicians to make new music. In order to meet this challenge, the organ will be equipped with a new type of double spring chests. This enables us to design the wind system compliant with the wind systems Zacharias Hildebrandt, our reference organ builder, used in his organs; even the tone-channel volumes will be similar to the channel volumes in his slider chests. The organ will have mechanical key action, so that the look, sound and ‘feel’ of the organ will closely resemble that of real 18th century organs.

 

The reason to develop and build new spring chests instead of applying Hildebrandt’s slider chests, is that they allow controlling each pipe separately by little magnets. This enables connecting a digital action system and other digital interfaces to the organ, challenging organists and other artists to work with one of J.S. Bach’s favored organ sound concepts in completely new ways.

 

The symposia in 2014 and 2015 focused on several aspects of our plan: in 2014, we discussed the relation between wind system and sound; in 2015, we considered the project from perspectives provided by disciplines such as Science and Technology Studies, Artistic Research and Sound Studies. This year’s symposium focuses on two topics:

• The New Baroque Organ questions the way we apply historical information

• The design of digital consoles and other interfaces of hyper organs

 

The organ is being built by four companies: Elbertse Orgelmakers/case, bellows, action, wind chests, etc. (Soest, NL); Hermann Eule GmbH/pipes (Bautzen, Germany); Sinua GmbH/hard- and software (Düsseldorf, Germany); Munetaka Yokota/voicing (Tokyo, Japan).

 

 

THURSDAY 2 JUNE

Welcome & Introduction

Hans Fidom

 

Concert

Peter Planyavsky / Farewell to the Van Leeuwen organ

 

Keynote

James Wallmann: Historic organ documentation – friend or foe?

 

Concert

Joris Verdin plays Joris Verdin

 

 

FRIDAY 3 JUNE

Session 1: Historic documentation and the New Baroque Organ

Peter Peters (chair): Historic documentation from an STS-perspective

Ibo Ortgies: Tracking down Hildebrandt: documentation of archival sources

David Franke: Stop order at the consoles of the New Baroque Organ

 

Session 2: Building the New Baroque Organ

Hans Fidom (chair): The New Baroque Organ

Fabienne Chiang: Organ front design in the past three decades

Bert van den Heuvel: Building the New Baroque Organ

 

Session 3: Organs as Historic Documents (lecture-recital)

Kimberly Marshall: Awakening joy / Historic instruments as our supreme teachers

 

Session 4: New organs, new interfaces (Chair: Peter Peters)

Franz Danksagmüller: New organs, new interfaces

James McVinnie: New music, new interfaces

Ansgar Wallenhorst: The fluid organ

 

Concert

James McVinnie & Ansgar Wallenhorst play Glass and improvise

 

 

SATURDAY 4 JUNE

Session 5: Hyper Organ Projects in Europe (Chair: Hans Fidom)

Markus Voigt: Die dynamisch stimmbare Orgel [German spoken]

Carl Adam Landström & Philipp Klais: The Malmø project

Hans-Ola Ericsson: The melting point between old and new

Jacob Lekkerkerker: The New Baroque Organ and its digital console

 

Session 6: Visit to the workshop of Elbertse Orgelmakers in Soest 

Hans Elbertse: Tour through the workshop