XXIV Academia de Órgano
Fray Joseph de Echevarría

From 25th to 31th July, 2020



Pieter van Dijk (1958) is City Organist, and organist of the Grote Sint Laurenskerk, in Alkmaar, The Netherlands, where he acts as custodian to two of the world’s most significant historic organs.

As one of Europe’s most sought-after teachers, Van Dijk is Professor and Head of Organ Studies at the Conservatory of Amsterdam…


From Sweelinck to Bach*

Jan Pieterszoon Sweelinck (1562 – 1621)
Psalm 116 SwWV 313
Da pacem SwWV 302
Erbarm Dich mein, O Herre Gott SwWV 303

Fantasia in d SwWV 259
Fantasia Ut re mi fa sol la SwWV 269

Mein junges Leben hat ein end SwWV 324
Ich fuhr mich über Rheine SwWV 322

Toccata in C SwWV 283

Johann Sebastian Bach (1685 – 1750)

The six Schübler Chorals BWV 645-650

Choral preludes from the Kirnberger Collection BWV 690-713

Sonata I in E flat Major BWV 525

Praeludium et Fuga in a BWV 543
Praeludium et Fuga in g BWV 535
Praeludium et Fuga in D BWV 532

*This programme is only illustrative, the students may also bring other works by the composers aforementioned.



Guy Bovet (born May 22, 1942), is appreciated in the musical world as a many-sided, original and cultivated artist, active in many fields.

He keeps a busy concert schedule of about 60 recitals per year…


Hispanic “ensalada”: from the “Tiento” to the Sonata, including the stylised dance forms. Spanish keyboard music from the 16th to the 18th century

From the 16th century the Spanish keyboard repertoire covers a wide variety of music forms and compositional techniques, influenced by the most traditional contrapunctus inherited from the Renaissance polyphony, and also assimilating the melodic elaborations improvised by the musicians on the dance forms.

There is a long way from this to Padre Antonio Soler’s galante style. Going through a variety of schools all of these influences mixed up together become a bit like a music “salad”. Students may bring other types of compositions written in the Iberian peninsula.

Antonio de Cabezón (1510 –1566)

Pavana con su glosa (Libro de cifra nueva… de Luys Venegas de Henestrosa, 1557)
Tiento de primer tono (Obras de música, 1568)

Sebastián Aguilera de Heredia (1561 – 1627)

Obra de octavo tono alto. Ensalada
Vajo de primer tono 

Francisco Correa de Arauxo (1584 – 1654)

Tientos (Facultad Orgánica, 1626)

Juan Bautista Cabanilles (1644 – 1712)

Pasacalles de primer tono (I)
Pasacalles de primer tono (II)
Pasacalles de tercer tono
Pasacalles de cuarto tono
Pasacalles de octavo tono
Corrente italiana

Antonio Soler (1729 – 1783)

Sonatas para tecla



Enrico Viccardi, born in Maleo (Italy) in 1961, moved after a few years to Codogno, where he still lives.

He received his diploma in Organ and organ Composition with first-class standing from the Conservatory of Piacenza, studying under Giuseppina Perotti…


Italian repertoire, style and performance: fantasia, contrapunctus and dance

Professor Enrico Viccardi invites you to a journey through the Italian baroque visiting some of the most important keyboard composers. Students may choose their own repertoire. Alongside these keyboard compositions, Viccardi will offer an insight on what Italian music meant in Europe during its time with some of the most famous orchestral transcriptions.

Girolamo Frescobaldi (1583 – 1643)
Tarquinio Merula (1595 – 1665)
Bernardo Storace (ca.1637 – ca.1707)
Giovanni Salvatore (1620 – 1688)
Bernardo Pasquini (1637 – 1710)
Alessandro Scarlatti (1660 – 1725)

 Johann Gottfried Walther (1684 – 1748)
Johann Sebastian Bach (1685 – 1750)
Thomas Billington (1754 – 1832)
Frederick Dawson (1868 – 1940)




Raúl del Toro studied Organ, Piano and Harpsichord at the Conservatorio Superior de Música Pablo Sarasate in Pamplona and the Conservatorio Superior de Música in San Sebastián.

He also followed studies of Composition and Gregorian Chant…


The organ repertoire in light of the liturgical context: origins and evolution
A large part of the organ repertoire has its origin in a specific purpose, within the various liturgical practices that have occurred throughout history. Organ music contains many aspects that remain hidden or misunderstood if not addressed from this perspective. The objective of this course is to apply the knowledge of successive cultural praxis to the analysis of the organ repertoire.


  • The course will have a duration of 50 hours approximately.
  • Academy teachers will offer 45 minutes individual lessons to those students who request them. Enrollment for these classes will be held in strict order of registration.
  • There will be a maximum of 12 active students. Each one must take part at least in two masterclasses.
  • The professors of the Academia and other guest organists will be giving recitals throughout the course.
  • The students will participate in the closing concert on 31th July, held at the San Andrés Chuch of Carrión de los Condes.
  • Some of the scores for the course can be provided on request.


Information about accomodation in Palencia will be given by the organizers of the course when required.



  • Registration before June 30st (included): 150 €
  • Individual lesson: 25€


  • 80€

Fee to be paid into the following bank account: IBAN: ES90 2108 2401 6500 3309 8696
Registration deadline: Until 30th June, 2020


Asociación de Amigos del Órgano de Palencia
Plaza de San Pablo, 8 E-34005 – Palencia
Phone: (+34) 629 878 681
email: echevarria.org@telefonica.net



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Aplazada la XXIX Academia de Órgano hasta el verano de 2021The 24 Organ Academy is postponed until the summer of 2021

Aplazada la XXIX Academia de Órgano hasta el verano de 2021

The 24 Organ Academy is postponed until the summer of 2021

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