XXVI ACADEMY

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XXVI Academia de Órgano
Fray Joseph de Echevarría

From 21st to 28th July, 2023
Balint KAROSI

Balint KAROSI

Director of Music at Saint Peter’s Church in New York City.

Recognized as one of the leading interpreters of the music of J. S. Bach worldwide.

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The middle-German Tradition

In this class, Prof. Karosi will coach individual students, approaching Thuringian organ works from a composer’s perspective. The goal is to differentiate between essential, and non-essential components of a musical composition in order to establish a stylistic framework, in which there is room for individual interpretation, ornamentation and improvisation. The class will also focus on basic organ technique; touch, articulation, posture, pedal technique, and registration. Each participant should choose a – preferably – chorale-based work by one of the composers of the Thuringian, middle-German school, including, but not limited to the following composers:

Johann Pachelbel (1653-1706)

Georg Böhm (1661-1733)

Johann Gottfried Walther (1684-1748)

Johann Sebastian Bach (1685-1750)

Wilhelm Friedemann Bach (1710-1784)

Johann Ludwig Krebs (1713-1780)

Gottfried August Homilius (1714-1785)

Enrico VICCARDI

Enrico VICCARDI

Enrico Viccardi, born in 1961, received his diploma in Organ and organ Composition with first-class standing from the Conservatory of Piacenza, studying under Giuseppina Perotti. He then perfected his skills with Michael Radulescu at the Hochschule für Musik in Vienna.

He is president of the music association Accademia Maestro Raro in Casalpusterlengo. He teaches Organ and organ Composition at the Conservatory of Parma.

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Journey through Italy

The course program aims to present a sort of journey through Baroque Italy by analyzing the musical treasures that some of the most important authors of keyboard compositions have left us, from the elegant virtuosity of Claudio Merulo to the novelties of Frescobaldi’s writing, with the passage from the “effects” to the “affects” of his seconda prattica (paraphrasing Monteverdi). Original figures are then those of Tarquinio Merula and Bernardo Storace who head towards the new frontiers of tonal language. Bernardo Pasquini and Alessandro Scarlatti finally open the doors to the eighteenth century, in which the Concert genre will reign.

Claudio Merulo (1533-1604)

Girolamo Frescobaldi  (1583-1643)

Tarquinio Merula (1595-1665)

Bernardo Storace (sXVII)

Giovanni Salvatore (1620-1688)

Bernardo Pasquini (1637-1710)

Alessandro Scarlatti (1660-1725)

Conciertos de compositores italianos transcritos para teclado por:

Johann Gottfried Walther (1684-1748)

Johann Sebastian Bach (1685-1750)

Thomas Billington (ca. 1754-1832)

Anne Dawson (sXVIII)

Roberto FRESCO

Roberto FRESCO

Professor of organ at the Centro Superior de Enseñanza Musical Katarina Gurska, also in Madrid.

Roberto Fresco is the Titular Organist at the Santa María la Real de la Almudena Cathedral in Madrid and the professor of organ at the Centro Superior de Enseñanza Musical Katarina Gurska, also in Madrid.

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The divided keyboard: “famous invention and well known in the kingdoms of Castile, although not known in others”

The divided keyboard is, without a doubt, the most singular characteristic of all those that define the Iberian organs. This particularity is present in peninsular instruments -and in overseas ones- for three centuries: from the last third of the 16th century to the end of the 19th century, although by then it was already coexisting with other aesthetic ideas of European origin. In addition, this attribute that defines the ancient organ in the Iberian Peninsula, originates a type of organ literature that will be its own and that will evolve, like the instruments, through an extensive period of time. Composers are going to use this organ resource constantly, even those who write for the Iberian organ today.

Sebastián Aguilera de Heredia (1561-1627)

Francisco Peraza (1564-1598)

Francisco Correa de Arauxo (1584-1654)

Jusepe Ximenez (1600-1672)

Pablo Bruna (1611-1679)

Juan del Vado (1625-1691)

José Torrellas (s. XVII)

Joan Cabanilles (1644-1712)

Gabriel Menalt (1657-1687)

Antonio Soler (1729-1783)

Joaquín Sánchez (+1800)

José Lidón (1748-1827)

SEMINARS AND LECTURES

Jorge GARCÍA

Jorge GARCÍA

Jorge García Martín began his musical education in Salamanca, where he studied piano, organ and harpsichord. Attracted by early keyboard music, he moved to Switzerland to study at the Schola Cantorum Basiliensis. There he studied the Organ Master…

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Historical improvisation today:
Is there a place in the teaching of the future for a pedagogy of the past?

Despite having been one of the key aspects in the training of a musician and a common requirement in his professional development, the reality is that for many decades its importance and weight within musical education has been relegated. Until now.

This conference aims to offer a vision of the importance that the art of improvisation had in past centuries through the different preserved sources and how, at present, these sources can be interpreted to apply them in the musician’s training.

Balint KAROSI

Balint KAROSI

Director of Music at Saint Peter’s Church in New York City.

Recognized as one of the leading interpreters of the music of J. S. Bach worldwide.

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“Deconstructing history” contemporary organ repertoire for historic organs

The long history of the Orgelbewegung movement has contributed to the recovery of countless historical instruments throughout Europe and, therefore, an enormous amount of information about the interpretation of early organ music. But it has also made it possible for many composers, throughout the 20th and 21st centuries, to have opted for old organs as recipients of new creations.

CLASSES

  • The course will have a duration of 50 hours approximately.
  • There will be a maximum of 12 active students.
  • Academy proffesors will offer 45 minutes individual lessons to those students who request them. Enrollment for these classes will be held in strict order of registration.
  • Some of the scores for the course can be provided on request.

ACCOMODATION

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

APPLICATION

Please send your APPLICATION FORM and CV to: echevarria.org@telefonica.net

ACTIVE PARTICIPANT: Registration 150€

  • Individual lesson: 25€.

PASSIVE PARTICIPANT: 80€

Fee to be paid into the following bank account: IBAN ES90 2108 2401 6500 3309 8696
Bank: UNICAJA BANCO
Registration deadline: until 10th June, 2023.

INFORMATION AND REGISTRATIONS

Asociación de Amigos del Órgano de Palencia
Plaza de San Pablo, 8 E-34005 – Palencia
Teléfono: (+34) 629 878 681
Correo electrónico: echevarría.org@telefonica.net
www.aaopalencia.org

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