2026 SITUATIONAL MUSICKING

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 6

 

S I T U A T I O N A L

M U S I C K I N G

 

 

Whereas the previous editions of the International Orgelpark Symposium balanced academic and artistic research, the 2026 one let the latter weigh in significantly stronger. The choice to do so was inspired by one of the core topics Orgelpark Research addresses: if music exists by sounding, it does so during a specific time, and hence also in a specific place. Understanding musicking (music-making in the widest sense) as a situational act obviously requires researching it by creating and perceiving it. 

 

In order to optimize this specific application of artistic research, we decided to focus on musicking strategies that are situational beyond discussion. Next to the organ, another instrument that is identified decisively by the space it sounds in, as it the space that makes it sound the ways it does, is the multiple loudspeaker array. Just like the organ's sound, its sound can't either be replicated elsewhere.  

 

 

 

One of the artists attuning to the acoustics at the Orgelpark: Maria W Horn, photographed by Laura Kampman

 

 

 

It hence doesn't surprise that some musicking strategies link these two groups of instruments. One of these strategies, developed beyond the realms of the traditionally trained organist, has become known as 'organcore', a term coined by musicker and sound artist Jacqui Cornetta. We invited leading organcore artists to present their work and to musick on the occasion of this year's symposium.

 

A significant result of the symposium deserves to be mentioned here explicitly upfront: in the discussions the word 'organcore' appeared not quite appreciated by anyone of the artists, as the were more than just a bit reluctant to accept the suffic 'core'. That said, the symposium documented yet that their musicking strategies were comparable indeed, as they identify by focusing on sonic detail, on movement and change being allowed to take time, on re-organizing the space and the acoustics of the Orgelpark. 

 

 

The Sound Rebellion collective presenting the Quintadyna. From left to right: Michele del Prete, Adrian Foster, Giulio Tosti, Elisabeth Hubmann.

 

 

Another link connecting the two fields obviously is the techn(olog)ical. Organ builder Jürgen Scriba created a new pipe organ for the occassion, called 'Quintadyna', equipped with a valve system that allows controlling the way the wind enters the pipes by the way one touches the keyboard. Instead of traditional organ keys, which are basically on/off-switches, the Quintadyna keys appeared to represent a highly expressive interface. Scriba presented the instrument together with the ensemble Sound Rebellion on the third day of the symposium.

 

The International Orgelpark Symposium Situational Musicking was developed through a partnership between the Orgelpark, the Richard Thomas Foundation, and the Hamel Foundation, with 4D SOUND as a creative and technical partner.

 

 

 

D A Y   1   /   T H U R S D A Y   /   J U N E   4

WELCOME & MUSIC

Hans Fidom and Richard Thomas  / Jasmine Karimova

 

MUSICAL LECTURE 

Jakob Lkk: Music for Cormorants

 

MUSIC

Amarante Nat: Love Songs (organ and voice)

world premiere

 

MUSIC

Claire M Singer: Saor (organ) & Saor (4D SOUND)

world premiere

 

MUSIC

Sarah Davachi: Organ Recital (Van Straten Organ)

 

 

 

D A Y   2   /   F R I D A Y   /   J U N E   5

MASTERCLASS

Poul Holleman: 4D SOUND

 

MUSIC

Casimir Geelhoed: Deviations (organ & 4D SOUND)

 

MUSIC

Robert Curgenven: Unstable Steady States (A/B/F-extended, 4D SOUND)

 

MUSIC

Maria W Horn: Somniorum (organ)

world premiere

Photo: Laura Kampman

 

 

ROUND TABLE

Richard Thomas, Maria W Horn, Claire M Singer, Casimir Geelhoed, Benjamin Tassie

 

TURNTABLING

NikNak: Eternities (turntables and 4D SOUND)

 

 

 

D A Y   3   /   S A T U R D A Y   /   J U N E   6

MUSICAL LECTURE

Jürgen Scriba and Sound Rebellion: Linear valves

 

KEYNOTE

Annie Garlid: 'Organcore'

 

MUSICAL LECTURE

Kara-Lis Coverdale: Composing for Organ

 

MUSICAL LECTURE

Sarah Davachi: Loving the Van Straten Organ

 

INTERVENTION

Anja Biel: The Hamel Foundation

Building interdisciplinary artistic intfrastructure

 

MUSICAL LECTURE

Casimir Geelhoed: Composing with 4D SOUND and hyperorgan

 

MUISCAL LECTURE

Mauricio Silva Orendain: Discovering the 4D SOUND system

 

LOOKING BACK & WRAPPING UP

Benjamin Tassie

 

MUSIC

Kara-Lis Coverdale: New Composition (organ)

world premiere