International Organ Festival

XXI Edition
2013
International
Organ Festival
“Città di Bergamo”
September 27 - October 25
Under patronage of
Comune di Bergamo
Assessorato alla Cultura e Spettacolo
PROVINCIA DI BERGAMO
Assessorato alla Cultura Spettacolo
Identità e Tradizioni
Comune di Bergamo
PROVINCIA DI BERGAMO
Cathedral of Bergamo
Parish of S.Alessandro della Croce
Parish of S.Maria Immacolata delle Grazie
Parish of S.Alessandro in Colonna
and under patronage of
XXI International Organ Festival
“Città di Bergamo”- 2013
supported by
The Festival history
The International Organ Festival “Città di Bergamo” was
born at the beginning of the Nineties as a gamble among
friends. Convinced of the need to bring to the town an
international top circuit of concerts, especially considering
the quality and variety of its organs, in 1992 the
association Vecchia Bergamo organized a ‘test’ concert.
Jean Guillou, one of the most famous contemporary players
in the world and titular of the great organs at St. Eustache
in Paris, was invited with a special mission: to introduce the
improvisation on themes given by the audience in his
program. As a matter of fact, this art which is considered as
a fundamental pillar by all northern European organ
Schools had practically disappeared from the Italian
churches in the last fifty years. The clear goal was to show
and consequently to measure the reactions of the public, on
how much the interpreter’s capability in communicating his
own unique feeling is of basic importance to create a larger
popular interest around organ music, which up to that time
was considered a specialists’ niche.
The success was so great and enthusiastic that the year
after the International Organ Festival started officially on
the big Serassi organ at S.Alessandro della Croce in Pignolo:
a perfect instrument, just restored, for portraying a wide
range of music and, at the same time, for representing
worthily the important organ builders’ tradition of our land.
The guidelines and contents of the Festival were, and still
are, the following: to focalize on the real actor of the event
- the interpreter - with his skill in guiding the audience
through emotions and spirituality; to systematically spread
the improvisation, an art where the personality and ability
of the player are joined in an unrepeatable moment,
revealing the real soul of the musician; to invite top
international artists, particularly those who are engaged in
teaching plans or recording projects of well known interest;
to introduce a young organist, winner of an important
International Competition held the year before; to explore,
with no inhibitions or limits, all the organ literatures,
including contemporary music, and promoting forgotten or
unknown composers. A key point of the immediate Festival
success has been its strong didactic approach: we prepare
for each concert detailed ‘guides for listening’, not the usual
list of birth dates, names, places and so on, but a real
explanation of the structures of the played pieces, their
styles, and the historical links among them.
Few years later, in 1997, the municipality of Bergamo asked
Vecchia Bergamo to expand the International Organ
Festival to the whole town, donating the title “City of
Since 2004, the oldest organ of the city - a little portable
one, manufactured by an anonymous in the second part of
the XVII century, at the Madonna del Giglio church, just
restored - has been added, allowing the Festival to offer
more than four centuries of organ music.
Recently other two important instruments are available for
the Festival: the renewed Mascioni organ, built in 1906 at
Alfredo Piatti Hall in the Conservatory of Bergamo, where
particular ensembles or unusual artistic proposals can be
happily managed, and the dazzling totally new big Corna
organ, installed three years ago in Cathedral, based on a
very interesting and original modern project.
This richness and variety of organs attract many foreign
players and teachers too, choosing Bergamo as a
favourite place for holding visits and master classes
with their pupils. The ‘Gesellschaft der Orgelfreunde’
(The Association of the Organ Friends), the biggest in
Europe with more than 6000 members, elected Bergamo
as site of its annual week meeting in summer 2014
(July 27 - August 2).
Currently the Organ Festival is one of the most loved and
well attended musical attractions in Bergamo. Its reputation
is renowned in all Europe, and many foreign tourists often
decide to spend a week-end in October for visiting our town
due to the organ concerts. This English version of the official
brochure has been conceived especially for them, and for all
the non-Italian mother-tongue who wish to be introduced
into the magic world of Bergamo organs sound.
The International Organ Festival “Città di Bergamo”
strongly supports the nomination of Bergamo as
‘European Capital of Culture 2019’.
XXI International Organ Festival
“Città di Bergamo”- 2013
XXI International Organ Festival
“Città di Bergamo”- 2013
Bergamo”. Four churches among the most representative
ones were selected for the qualities of the organs there
preserved: Basilica of Santa Maria Maggiore, Cathedral,
S.Alessandro della Croce church, S.Maria Immacolata delle
Grazie church. The reason of these choices is easy to
understand: the characteristics of the instruments are very
different but complementary. They are the highest artistic
expression in the town of four different Italian firms: two of
them, ancient, with mechanical action and pipes from the
XVIII century, are manufactured by the families Serassi and
Bossi, historical rivals in Bergamo; the other two, modern,
with electrical action, by Vegezzi Bossi and Balbiani,
represent the only sample in the town of the Romantic
Organ (S.Maria Maggiore) and of the Caecilian Organ
(S.Maria Immacolata delle Grazie).
The XXI edition
After the sumptuous celebration of the twentieth
anniversary edition - which also involved a lot of Bergamo’s
organists into an exciting musical marathon - the
International Organ Festival “Città di Bergamo” comes
back to the blocks start of a new season in its more
traditional livery: 5 concerts in the 5 Friday of the first weekends of autumn.
The overture, Friday September 27 in the Cathedral, on the
recent Corna organ enriched by a new beautiful 4
keyboards console, is entrusted to one of the most
celebrated performers in the world, Philippe Lefebvre, titular
organist since 1985 of Notre-Dame de Paris, in occasion of
850 th anniversary of its founding. The first part of the
program is titled to two charismatic figures of Notre-Dame
through rare performances, as the whole Second Symphony
by Louis Vierne, titular there from 1900 to 1937, and the 2
percussion and organ transcribed improvisation by the
mythic Pierre Cochereau (1955-1984). In the second part
we face the two major substitutes of Vierne: Marcel Dupré
(1914-1923) and Maurice Duruflé (1929-1931). But the
most significant tribute to the peculiarities of Notre-Dame
art is probably the final one, with the live improvisation,
discipline for which Lefebvre is considered an absolute
reference. Seen the welcome support by the ‘International
Piano Festival of Bergamo and Brescia’, due to its fiftieth
anniversary, we will propose to the audience a list of themes
from famous concerts for Piano and Orchestra: the most
voted will be used by the master for his extemporary
performance.
The following Friday, October 4, we will host the Australian
organist and harpsichordist Brett Leighton, today
considered one of the leading experts on ancient keyboard
music. The meeting will be at the small church of Beata
Vergine del Giglio, the magnificent temple that treasures
the city’s oldest organ, a late 17 th century’s anonymous
instrument with its characteristic mesotonic tuning. For the
usual double date (6.30 and 9 p.m.), dictated by the little
size of the church, Leighton proposes a recital of late
Renaissance music involving a quite rare instrument, the
cornetto, played by the expert Hans-Jakob Bollinger.
The musical pearls, for the joy of many fans of this genre,
will be more than one, carried out in a context of great
architectural and artistic influence, which faithfully
reproduces the performance practices of that time.
Improvisation will be dominant in the concert on Friday 11,
in Santa Maria Immacolata delle Grazie, traditionally
devoted to the presentation of a young winner of an
XXI International Organ Festival
“Città di Bergamo”- 2013
International Competition. For the third consecutive year we
encounter a phenomenon from the CSNM of Paris, not
surprisingly considered one of the centers of excellence for
the organ, and improvisation in particular: Baptiste-Florian
Marle-Ouvrard, who won in the last two years some very
high-level competitions. Of the three improvised sections in
Bergamo program, all in different styles and shapes, two
are dedicated to the celebration of the important
anniversaries of G.Verdi and R.Wagner: a funny way, not
new for the Festival, to make memory of authors who, while
out of the purely organ groove, have been of paramount
importance in the construction of the western musical
language, an evolution still in progress, which will find
meaningful contemporary evidence in the compositions of
J.Giraud and T.Escaich, both premiered in Bergamo.
With the fourth appointment - Friday, October 18 in
S.Alessandro della Croce in Pignolo, where Marco Ruggeri
will play the splendid organ Serassi 1860 - we will celebrate
in the best way a double ‘local’ anniversary: the 250th of the
birth of Johann Simon Mayr, and the 150th of the death of
Felice Moretti, alias Padre Davide da Bergamo, which
means teacher and pupil in comparison. In fact everyone
knows that Mayr was the master of Gaetano Donizetti, but
few of father Davide, the famous friar friend of Serassi
family, with whom he has created the aesthetic of nineteenth
century Lombard organ and its proper literature. Of the
master of Mendorf we will hear even a world premiere, a
manuscript from the personal archive of Father David.
While the brilliant monk from Zanica will be addressed of a
large and significant selection of works taken from his
huge organ ‘corpus’, target of extensive studies by Marco
Ruggeri, passionate musicologist too.
The closure will be in the Basilica of Santa Maria Maggiore,
Friday 25, with another of the great improvisers of our time,
Franz Josef Stoiber, manager of musical activities at the
Regensburg cathedral, other important European Catholic
center. The program, of great difficulty of execution, in
addition to two large improvisation frescoes, provides a
path through the meanders of nineteenth-century German
school, with works and authors in first premiere for
Bergamo, as G.A.Merkel and J.Renner, vital to understand
the post-romantic visions of Max Reger, present here with
one of his most fascinating Fantasies. Inspired by the same
north roots was our Marco Enrico Bossi too, among other
enthusiastic official tester of the Vegezzi Bossi organ of the
Basilica of Santa Maria Maggiore in 1915, who received,
this summer, an important revision of its electronic system.
Fabio Galessi
Program
Cathedral
Città Alta
Friday, September 27 - 9 p.m.
Philippe Lefebvre (France)
Beata Vergine del Giglio church
Via S.Alessandro
Friday, October 4 - 6.30 and 9 p.m.
Hans-Jakob Bollinger (Switzerland)
Cornetto
Brett Leighton (Australia)
Organ
S.Maria Immacolata delle Grazie church
Porta Nuova
Friday, October 11 - 9 p.m.
Baptiste-Florian Marle-Ouvrard (France)
S.Alessandro della Croce church
Via Pignolo
Friday, October 18 - 9 p.m.
Marco Ruggeri (Italy)
Basilica of S.Maria Maggiore
Città Alta
Friday, October 25 - 9 p.m.
Franz Josef Stoiber (Germany)
Free Entrance
Philippe
Lefebvre
Since 1985 Philippe Lefebvre
has been organist-titular of
Notre Dame Cathedral in Paris.
He discovered the organ at age
16; on the advice of Pierre
Cochereau, then Organist of
Notre-Dame, he began studies
in organ and improvisation,
first at the Conservatory in Lille,
and then in Paris. At 19, he was
appointed tenured organist at
Arras cathedral and several
months later gave his first
concert at Notre-Dame de Paris.
In 1971 he was awarded
the first prize in organ
and improvisation from the
National Conservatory and first
prize in counterpoint and fugue.
He also won first prize in
improvisation at Lyon and one
year later first prize in the
prestigious Chartres Cathedral
international competition.
In 1976 he was appointed
titular head organist of Chartres
Cathedral, then in 1985 as
titular of Notre Dame Cathedral,
with Olivier Latry and JeanPierre Leguay. From 1980-2003
he was director of the National
Conservatory of Lille where he
growth of the oldest music,
theatre, and danse school in
France. He continued his
teaching career at the
Conservatoire National
Supérieur de Musique de Paris
where he was professor of
improvisation and where he
had responsibility for the
“Musique Sacrée à Notre-Dame
de Paris” and with it, the task
of running the choir school, the
training of professional singers
and the running of the
cathedral’s musical activities.
His career as a concert organist
has taken him across the world
where he has been the guest at
major festivals, both as a soloist
and accompanied by orchestra,
and conducting master classes.
He has many recordings to his
name and is regarded as one
of the players and improvisers
most representative of the
French Organ School, an art
which he illustrates troughout
the world. He his currently
Professor of Improvisation at
the Paris Conservatory and
since three years the first
manager of the staff of
Notre Dame Cathedral.
Cattedrale
Cathedral
Friday, September 27
9 p.m.
Organist:
Philippe Lefebvre
Louis Vierne (1870 -1937)
- Symphony n.2 op.20
• Allegro
• Choral
• Scherzo
• Cantabile
• Final
Pierre Cochereau (1924 -1984)
- Boléro sur un thème de Charles Racquet
pour grand orgue et percussion (*)
[1902]
[1973]
(transcribed improvisation by Jean-Marc Cochereau)
Marcel Dupré (1886 -1971)
- Cortège et Litanies op.19 n.2
Maurice Duruflé (1902 -1986)
- Prélude et fugue sur le nom d’Alain op.7
Philippe Lefebvre (1949)
- Improvisaton on themes
from piano and orchestra concerts
chosen by the audience
(*) = Davide Mallia - Filippo Sala
[1923]
[1942]
ORGAN
PIETRO CORNA 2010
PROJECTED BY
DON GILBERTO SESSANTINI
Resonance Organ (IV)
58 Diapason 8’
59 Gran Flauto 8’
60 Corno di notte 4’
61 Nazardo 2’ 2/3
62 Quarta di Nazardo 2’
63 Terza 1’ 3/5
64 Quinta 1’ 1/3
65 Settima 1’ 1/7
66 Tromba en chamade 8’
67 Regale en chamade 16’ sop.
68 (vuoto)
69 Tremolo
70 Grave IV
71 Annullatore unisono
72 Acuta IV
Toe Pistons
Eight free combinations(3)
Unione II - I
Unione III - I
Unione IV - I
Unione generale tastiere
Sequencer (-)
In cooperation with:
Cattedrale di Bergamo
Great Organ (I)
17 Bordone 16’
18 Principale 8’
19 Flauto Armonico 8’
20 Fugara 8’
21 Ottava 4’
22 Flauto a camino 4’
23 Duodecima 2’ 2/3
24 Quintadecima 2’
25 Ripieno V
26 Cromorno 16’
27 Tromba 16’
28 Tromba 8’
29 Grave I
30 Annullatore unisono
31 Acuta I
Positive Organ (II)
32 Quintadena 8’
33 Bordone 8’
34 Gamba 8’
35 Vox Angelica 8’
36 Flauto ottaviante 4’
37 Corno Camoscio 2’
38 Mixtur III
39 (vuoto)
40 Cromorno 8’
41 Grave II
42 Annullatore unisono
43 Acuta II
Pedal
1 Principale 16’
2 Subbasso 16’
3 Contra Viola 16’ (E)
4 Gran Quinta 10’ 2/3
5 Bordone 8’
6 Violone 8’
7 Grandi Armonici III (E)(1)
8 Bordoncino 4’
9 Trombone 16’
10 Tromba 16’
11 Corno Inglese 16’ (E)
12 Tromba 8’
13 Cromorno 4’
14 Tromba en chamade 8’
15 Regale en chamade 8’
16 Divisione Pedale(2)
Couplers
73 I - Ped
74 II - Ped
75 III - Ped
76 IV - Ped
77 Acuta I - Ped
78 Acuta II - Ped
79 Acuta III - Ped
80 Acuta IV - Ped
81 Grave II - I
82 Grave III - I
83 Grave IV - I
84 Grave III - II
85 II - I
86 III - I
87 IV - I
Sequencer (+)
Unione I - Ped
Unione II - Ped
Unione III - Ped
Unione VI - Ped
Fondi
Ripieni
Ance
Tutti
Swell Recitative Organ (III)
44 Contra Viola 16’
45 Bordone amabile 8’
46 Viola di Gamba 8’
47 Voce Celeste 8’ II
48 Coro Viole 8’ II
49 Salicet 4’
50 Cornetto d’eco II
51 Corno Inglese 16’
52 Oboe d’Amore 8’
53 Clarinetto 8’
54 Tremolo
55 Grave III
56 Annullatore unisono
57 Acuta III
88 III - II
89 IV - II
90 IV - III
91 GO II - Pos I
92 Acuta II - I
93 Acuta III - I
94 Acuta IV - I
95 Acuta III - II
96 Annullatore ance
97 Annullatore ance
98 Annullatore ance
99 Annullatore ance
100 Annullatore ance
101 (vuoto)
102 (vuoto)
I
II
III
IV
Ped
Expression Pedal
Sweller
Espressione Recitative III
(1) 6’ 2/5; 4’ 4/7; 3’ 5/9 from Bordone amabile 8’ III
(2) it divides pedalboard compass in two parts: the left one (C1-B1) with only
Subbasso 16’ and Bordone 8’ registers; the right one (C2-G3) where all
other registers can be used
(3) for each piston, 500 memories with sequencer are available
Electronic action.
Movable console.
Four 61-notes (C1 C6) keyboards and 73-notes wind chests due to the real
superoctave of 8’ and 4’ registers at I and II keyboards.
32-notes flat parallel pedalboard (C1 G3).
2789 pipes.
Great, Positive and Resonance Organ in Cornu Epistolae.
Swell Recitative Organ in Cornu Evangelii.
Many part of the old Balbiani Vegezzi Bossi organ 1943-1995 has been
employed for the new construction.
Brett
Leighton
Brett Leighton has been lecturer
in organ and harpsichord at the
Anton Bruckner University, Linz
since 1994. A native of Sydney,
Australia, he was awarded in 1977
concert and pedagogical diplomas
in organ (both with highest
distinction) studying with David
Rumsey at the Conservatorium
of his native city, after which he
continued his studies with Michael
Radulescu at the Vienna Music
Academy in1978.The prizes,
distinctions and scholarships he
gained (merit prize of the Austrian
Ministry for Science and Research,
Winston Churchill Fellowship,
award of the Music Board of the
Australia Council, etc.) were
the beginning of a voyage of
discovery to historic organ
landscapes all over Europe.
Of similarly decisive importance
for research into performance
practice - first and foremost of early
music - was his enthusiasm for the
harpsichord, on which instrument
he undertook further studies
(1981-1985) with Jean-Claude
Zehnder in Basel and Ton
Koopman in Amsterdam.
He complemented his formal
education with courses and
private study with Luigi
Ferdinando Tagliavini, Harald
Vogel and Jean Langlais, among
others. In 1979 he became the first
person to win the Paul Hofhaimer
Prize of the City of Innsbruck for
the performance of keyboard
music by early masters, a prize
which had not been awarded in
the ten years of the competition’s
existence. Since then, concerts
regularly take him to most
European countries as well as to
Japan, the USA, Mexico and his
native Australia. His playing
reflects a keen interest in source
studies and research into
performance practice. He has
furthermore numerous premières
and first performances of
contemporary works for and
with organ (Berio, Heiller, Langlais,
Radulescu, Schlee, Tournemire,
etc.) to his credit. Additionally,
he has contributed articles to
various music journals and
adjudicated for international
organ competitions. Brett Leighton
enjoys regular artistic collaboration
with baroque violinist Annegret
Siedel. In addition to his duties in
Linz, he has taught and lectured
at the Music University of Vienna
as well as at summer courses and
festivals in many European
countries. He has recorded for
Swiss, Austrian, Japanese,
Spanish and Australian radio
as well as for such CD labels
as Symikon, Carrara, Weinberg
Records, Motette, Ex Libris and
Musica Omnia.
Hans-Jakob
Bollinger
Hans-Jakob Bollinger first
studied modern trumpet at
the Academy of Music in
Zurich-Winterthur.
After several busy years of
trumpet playing his musical
interests shifted more and more
in the direction of ancient
music. Therefore he studied
cornetto at the Schola Cantorum
Basiliensis with Bruce Dickey,
baroque trumpet with Edward
H.Tarr and Jean-François
Madeuf, then later, at the “Centre
de musique ancienne” in
Geneva, with William Dongois.
As cornetto player he performed
in a variety of ensembles for
ancient music (‘I Barocchisti’
with Diego Fasolis, Lautten
Compagney Berlin, ‘Ecco la
musica’) all over Europe.
He played at renowned festivals
for ancient music such as Tage
Alter Musik, Innsbruck,
Ambronnay, ‘Guideonum’ in
Arezzo and “Internationales
Bachfest” in Schaffhausen.
In 1998 Hans-Jakob Bollinger
founded “Il desiderio”, an
ensemble that commits itself to
the performance of early music
on period instruments.
In 2005 his first Solo-CD
“La Giorgina” was published by
Swisspan. Hans-Jakob Bollinger
took part in a variety of
recordings on radio (SRF,
RSI, SWR), TV (SF) and CDs
(Ambitus/Musique Suisse).
ORGAN
ANONYMOUS
XVII CENTURY
ORGAN RESTORED
IN 2003 BY
GIOVANNI PRADELLA IN
BERBENNO DI VALTELLINA (SO)
1
2
3
4
5
Principale 8’ (1)
Ottava 4’ (2)
Decimaquinta 2’
XIX - XXII (3)
Flauto in XII (4)
Beata Vergine del Giglio
Church
Friday, October 4
6.30 p.m. and
9.00 p.m.
Organ:
Brett Leighton
Cornetto:
Hans-Jakob Bollinger
Sperindio Bertoldo (ca.1530 -ca.1570)
- Toccata [del primo tono] (*)
Giovanni Pierluigi da Palestrina (ca.1525 -1594)
- Io son ferito lasso
Annibale Padovano (1527 -1575)
- Toccata del 6° tono (*)
Andrea Gabrieli (ca.1533 -1586)
- Maria stabat ad monumentum
- Gaybergier (after Crequillon) (*)
Claudio Merulo (1533 -1604)
- Languissans (after Crequillon) (*)
[from Terzo Libro de Canzone - 1611]
(1)
(2)
(3)
(4)
first fifteen keys always play (C1 F2#)
first ten keys always play (C1 C2#)
first thirteen keys have XXVI-XXIX pipes too
sopran from C3
Mechanical action.
One 50-notes original keyboards (C1 F5), with shortened first octave.
17-notes pedalboard, with shortened first octave constantly linked to the keyboard.
Stop-actions at right of the keyboard.
1/6 comma mesotonic temperament.
Giovanni Gabrieli (1557 -1612)
- Canzona La Spiritata
Marcantonio Cavazzoni (ca.1485 - after 1569)
- Recercare primo (*)
- Salve virgo (*)
Bartolomeo Barbarino (ca.1568 -ca.1617)
- Caroe Soave
- Serenissima
Girolamo Frescobaldi (1583 -1643)
- Capriccio sopra l’aria di Ruggiero (*)
[from Libro Primo di Capricci - 1624]
Cesario Gussago (ca.1579 -1612)
- Sonata La Fontana
Giovanni Gabrieli (1557 -1612)
- Toccata primi toni (*)
- Canzona seconda
In cooperation with:
Parish of
S.Alessandro in Colonna
(*) = solo organ
Baptiste-Florian
Marle-Ouvrard
Born in 1982, Baptiste-Florian
Marle-Ouvrard started the piano
at the age of 4. In 1991, as he
was 9 years old, he was enrolled
in the Radio-France children
Choir and then discovered the
organ. He studied at the Paris
National Superior Conservatory
where he was taught by such
personnalities as Olivier Latry,
Thierry Escaich, Pierre
Pincemaille, Philippe Lefebvre,
Jean-François Zygel, and
François-Xavier Roth.
He got there 8 first prizes
(organ, improvisation, continuo,
polyphony of Renaissance,
harmony, counterpoint, fugue,
orchestration) and an Orchestra
direction certificate.
He was awarded various
competitions prizes:
2° Prize for Improvisation
Grand Prix de Chartres - First
Prize not awarded - (France
2012), 1° Prize and Public prize
in the International
Improvisation Competition
‘Orgues sans Frontiers’
(Luxembourg 2011),
1° Prize-winner in the
International Competition
“Mickaël Tariverdiev” in
Kaliningrad (Russia 2011),
1° Prize and Public prize in the
International Improvisation
Competition - Leipzig (Germany
2009). Organist of the Church
of St.Vincent de Paul in Clichyla-Garenne (Paris), he appears
regularly in concert in France
and abroad (Germany, UK,
Spain, USA, Luxembourg,
Russia, Switzerland).
He taught improvisation and
composition at the Conservatory
of Viry-Châtillon (Essonne).
He also recorded for the label
LPLO his first disc devoted to
improvisation and to the works
of Marcel Godard, and created
in 2007 his Oratorio “Noah’s
Ark” for chorus, orchestra and
organ. The magazine “Organ Journal für die Orgel” gave him
the title of “Organist of the Year
2007”. At the same time, fan of
airplanes, he obtained his
Private Pilot Licence in 2008.
S. Maria Immacolata
delle Grazie Church
Friday, October 11
9 p.m.
Concert of the First Prize Winner
at 3rd“Orgues Sans Frontières”
International Competition,
Improvisation 2011
Organist:
Baptiste-Florian Marle-Ouvrard
Jean-Philippe Rameau (1683 -1764)
from “Les Indes galantes”
- Rondeau “Danse du Grand Calumet de la Paix”
Baptiste-Florian Marle-Ouvrard (1982)
- Improvisation on themes given by the audience
“Prelude et Fugue in Johann Sebastian Bach style”
Cesar Franck (1822 -1890)
- Prélude, Fugue et Variation op.18
Baptiste-Florian Marle-Ouvrard (1982)
- Improvisation on Richard Wagner themes
chosen by the audience
“Symphonic Poem in romantic style”
Marcel Dupré (1886 -1971)
- Prelude and Fugue in G minor op.7 n.3
[1912]
Jean Giroud (1910 -1997)
- Toccata pour l’élévation
[1953]
Thierry Escaich (1965)
- Evocation II
[1996]
Baptiste-Florian Marle-Ouvrard (1982)
- Improvisation on Giuseppe Verdi themes
chosen by the audience
ORGAN
BALBIANI
VEGEZZI BOSSI 1924
ORGAN
RESTORED AND
EXTENDED IN 1995 BY
PONTIFICIA FABBRICA D’ORGANI
BALBIANI VEGEZZI BOSSI
IN MILAN
Great Organ (I)
6 Principale 16’
7 Principale 8’
8 Flauto 8’
9 Dulciana 8’
10 Ottava 4’
11 Flauto 4’ *
12 Quintadecima 2’ *
13 Decimanona 1’ 1/3 *
14 Vigesimaseconda 1’ *
15 Ripieno 6 file
16 Unda Maris 8’
17 Tromba 8’
18 Tremolo
Swell Organ (II)
19 Oboe 8’
20 Voce Corale 8’
21 Bordone 8’
22 Salicionale 8’
23 Viola 8’
24 Concerto Viole 8’
25 Principalino 4’ *
26 Flauto 4’
27 Eterea 4’
28 Nazardo 2’ 2/3 *
29 Flautino 2’ *
30 Terza 1’ 1/3 *
31 Pienino 3 file
32 Tremolo
Pedal
35 Bordone 16’
36 Contrabbasso 16’
37 Basso 8’
38 Cello 8’
39 Tromba 16’ *
40 Tromba 8’ #
41 Tromba 4’ #
1
2
3
4
5
Ottava Grave I
Ottava Acuta I
Ottava Grave II
Ottava Acuta II
Unione tastiere
33 Ottava Grave II
34 Ottava Acuta II
42
43
44
45
46
Toe Pistons
Sei combinazioni libere
Unione I+II
Pedale + I
Pedale + II
Ripieno I
Ripieno II
Fondi
Ance
Tutti
Expression Pedals
Sweller
Espressione II
Cancels
Tromba 8’ I
Oboe 8’ II
Voce Corale 8’ II
Ance Pedale
Unione Ped I
Unione Ped II
Ottava acuta I
Ottava acuta II
Pedale automatico
* = New stops, added on ‘95.
# = From a unique Tromba 16’ stop of 4 and half octaves extension.
In cooperation with:
Parish of S.Maria
Immacolata delle Grazie
Electropneumatic action.
Movable console.
Two 58-notes keyboards (C1 A5).
30-notes radiating pedalboard (C1 F3).
Great Organ in Cornu Epistolae, Swell Organ in Cornu Evengelii.
Marco
Ruggeri
Born in Cremona in 1969,
he studied with G. Crema,
E.Viccardi, G. Fabiano, N. Scibilia
and M.Ghiglione at the
Conservatories of Piacenza and
Brescia, where he graduated in
Organ (1989), harpsichord
(with honors, 1996) and Choral
Conducting (2009). He studied
composition with P. Ugoletti;
he then completed his studies
with A. Marcon at the Schola
Cantorum in Basel (1997-99).
Premiered at the International
Organ Competition in Bruges
(1997), won the first prize at
the International Organ
Competition of St. Elpidio a
Mare (1998) and Harpsichord
Competition of Bologna (1997).
After obtaining his Musicology
Degree cum laude (University
of Pavia 1996), he dedicated
himself to the study of organ
music and the art of 18 th
Century Italian organ building
(in particular, to the rediscovery
of Ponchielli’s organistic works
and the publication of the
‘Catalogo del Fondo Musicale
della Basilica di S. Maria di
Campagna in Piacenza’,
Olschki 2003).
For Ricordi has recently
published a method for
accompaniment and basso
continuo. He has recorded for
Tactus, Sony, Stradivarius,
MV Cremona, La Bottega
Discantica, Multimedia S. Paolo.
The recording of Ponchielli’s
organ pieces earned him the
“Musica eccezionale”
(exceptional music) acclaim
from «Musica» magazine
(October 2000). He has recorded
CDs with works by Father
Davide da Bergamo (2 CDs),
harpsichord sonatas the
Cremona composer Serini
(XVIII century), works by
Mozart and Petrali. He has
made a CD of organ-orchestra
Lingiardi S. Pietro al Po in
Cremona (MV Cremona).
He is a teacher and deputy
director at the Novara
Conservatory. In Cremona,
he is the second organist of the
Cremona Cathedral and plays
an organ-orchestra built by
Lingiardi in 1877 at the
“S. Pietro al Po” church; he is
a consultant for the restoration
of the organs of the Diocese of
Cremona and artistic director
of the Diocesan School of Sacred
Music “D. Caifa” in Cremona.
S. Alessandro della Croce
Church in Pignolo
Friday, October 18
9 p.m.
Organist:
Marco Ruggeri
Teacher versus Pupil
Giovanni Simone Mayr (1763 -1845)
- Gran preludio
[Bergamo, Istituto Civico Library]
- Sinfonia mayriana di stile russo
“a memoria ridotta da Fr. Davide Min. Rif.”
[Piacenza, S. Maria di Campagna archive, Father Davide manuscript]
- Gran scena con ballo campestre “ridotta in Sonata”
(from the opera La rosa bianca e la rosa rossa)
[Piacenza, S. Maria di Campagna archive, Father Davide manuscript]
> World premiere
Padre Davide da Bergamo (1791 -1863)
- Fantasia per organo pieno
(from 15 Pezzi per l’organo Serassi di S. Maria di Campagna)
-
3 Versetti in Re
Sonata sopra un pensiero di Rossini
Incendio ideale
Concertino per Flutta con Viola d’accompagnamento
L’arrivo de’ Pastori al Santo Presepio,
e loro partenza dal medesimo
(Pastorale for modern organs)
- Preghiera
(from 15 Pezzi per l’organo Serassi di S. Maria di Campagna)
- Sinfonia col tanto applaudito inno popolare
ORGAN
SERASSI n° 659
1860
ORGAN RESTORED IN 1991
BY BOTTEGA ORGANARIA
CAV. EMILIO PICCINELLI E FIGLI
IN PONTERANICA (BG)
Great Organ (II)
22 Terzamano
23 Corni da Caccia 16’soprani
24 Cornetto I soprani
25 Cornetto II soprani
26 Fagotto 8’ bassi
27 Tromba 8’ soprani
28 Clarone 4’ bassi
29 Corno Inglese 16’ soprani
30 Violoncello 8’ bassi
31 Oboe 8’ soprani
32 Violone 8’ bassi
33 Flutta 8’ soprani
34 Viola 4’ bassi
35 Clarinetto 16’ soprani
36 Flauto in VIII 4’ soprani
37 Flauto in XII soprani
38 Voce Umana 8’ soprani
39 Voce Umana 4’ soprani
40 Ottavino 2’ soprani
41 Tromboni 8’
42 Bombarda 16’
43 Timballi
Echo Organ (I)
44 Principale 8’ bassi
45 Principale 8’ soprani
46 Ottava 4’ bassi
47 Ottava 4’ soprani
48 Quintadecima 2’
49 Decimanona
50 Vigesimaseconda
51 Due di Ripieno (XXVI e XXIX)
Stop-Action Pedals
Timballone
Distacco tasto al pedale
Unione Tastiere
Terzamano al Grand’Organo
Corno Inglese 16’ S.
Fagotto 8’ B.
Tutte Ance
In cooperation with:
Parish of
S.Alessandro della Croce
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
Principale 16’ bassi
Principale 16’ soprani
Principale I 8’ bassi
Principale I 8’ soprani
Principale II 8’ bassi
Principale II 8’ soprani
Ottava 4’ bassi
Ottava 4’ soprani
Ottava II 4’ bassi e soprani
Duodecima 2’ 2/3
Quintadecima I 2’
Quintadecima II 2’
Due di Ripieno (XIX e XXII)
Due di Ripieno (XIX e XXII)
Due di Ripieno (XXVI e XXIX)
Due di Ripieno (XXVI e XXIX)
Quattro di Ripieno (XXXIII e XXXVI doppi)
Contrabassi I 16’
Contrabassi II 16’
Basso 8’
Ottava 4’
52
53
54
55
56
57
58
59
60
Arpone 8’ bassi
Violoncello 8’ soprani
Violoncello 8’ bassi
Voce Corale 16’ soprani
Viola 4’ soprani
Flutta camino 8’ soprani
Flauto in Selva 4’ soprani
Violino 4’ soprani
Voce Flebile 8’ soprani
Combination Pedals
Ripieno Grand’Organo
Combinazione Libera Grand’Organo
Ripieno Eco
Espressione Eco
Mechanical actions.
Two 70-notes original keyboards (C-1 A5), 70 real sounds,
cromatic counter-octave, divided stops bass-sopran B2 C3.
24-notes pedalboard (C1 B2), 12 real sounds (C1 B1).
Great Organ stop-actions at right of the console.
Echo Organ stop-actions at left of the console.
Franz Josef
Stoiber
Franz Josef Stoiber first learnt to
play the organ during his school
days from the Cathedral’s
organists Walther R. Schuster in
Passau and Eberhard Kraus
in Regensburg. He then studied
church music and theory of
music at the Academy of Music
in Würzburg (organ with
Günther Kaunzinger and Gerhard
Weinberger, phrase with Zsolt
Gardonyi). Artistically his main
subjects were organ at the
Academy of Music in Stuttgart
(with Jon Laukvik) and organ
improvisation with Peter
Planyavsky (Vienna).
After three years as a full-time
assistant at the Cathedral of
Würzburg and as a lecturer
for music theory at the Academy
of Music in Würzburg, Franz
Josef Stoiber followed an offer
as a university lecturer for
organ and music theory at the
Academy for Catholic Church
music and Music education
(today ‘Hochschule für
katholische Kirchenmusik und
Musikpädagogik Regensburg’).
In 1996 Franz Josef Stoiber
was appointed as the cathedral’s
organist at St. Peter’s Cathedral
in Regensburg. Since 1997 he is
also teacher for the organ for
the “Regensburger Domspatzen”.
In 2003 he was appointed as
full-time professor for organ
(main focus liturgian organ
play/improvisation) at the
‘Hochschule für katholische
Kirchenmusik und Musikpädagogik
Regensburg’ and he served there
as the director from 2003-2011.
Concerts, CD productions,
visiting lectures (e.g. in
Germany, Portugal, Croatia,
Russia and Japan), composer
works, essays and publications
of books complete his activities.
One of the most outstanding
events in the last years was the
consecration of the new organ
in the Cathedral of Regensburg,
which Franz Josef Stoiber had
designed decisively.
It comprises of 80 registers,
4 manuals and pedals, it is the
biggest free hanging organ in
the world and was created by
the organ-builder Rieger from
Schwarzach,Vorarlberg (Austria).
Basilica of
S. Maria Maggiore
Friday, October 25
9 p.m.
Organist:
Franz Josef Stoiber
Franz Josef Stoiber (1959)
- Improvisation on a theme given by Festival
“Choral”
Gustav Adolf Merkel (1827 -1885)
- Sonate n.5 in D minor op.118
(Allegro risoluto, Andante, Allegro risoluto - Fuga)
Marco Enrico Bossi (1861 -1925)
- Scherzo in G minor op.49 n.2
- Toccata di concerto in D minor op.118 n.5
Joseph Renner (1868 -1934)
from Suite op.56
- Trio
Max Reger (1873 -1916)
- Phantasie über den Choral
“Wie schön leucht’ uns der Morgenstern“ op.40 n.1
Franz Josef Stoiber (1959)
- Improvisation on themes given by the audience
ORGAN
VEGEZZI BOSSI 1915
RUFFATTI 1948
ORGAN
RESTORED IN 1992
BY THE FIRM
F.LLI RUFFATTI IN PADOVA
Great Organ (II)
1 Principale 16’
2 Principale I 8’
3 Principale II 8’
4 Flauto Traverso 8’
5 Dulciana 8’
6 Gamba 8’
7 Quinta 5’ 1/3
8 Ottava I 4’
9 Ottava II 4’
10 Flauto Camino 8’
11 XIIa
12 XVa
13 Cornetto 3 file
14 Ripieno grave 6 file
15 Ripieno acuto 8 file
16 Trombone 16’
17 Tromba 8’
18 Clarone 4’
Swell Organ (III)
19 Controgamba 16’
20 Principalino 8’
21 Bordone 8’
22 Viola gamba 8’
23 Viola Celeste 8’
24 Concerto Viole 8’
25 Flauto Armonico 4’
26 Voce Eterea 4’
27 Ottava Eolina 4’
28 Ottavina 2’
29 Ripieno 5 file
30 Tuba Mirabilis 8’
31 Oboe 8’
32 Voce Corale P 8’
33 Voce Corale F 8’
34 Tremolo
Positive Organ (I)
66 Bordone 16’
67 Eufonio 8’
68 Corno Dolce 8’
69 Salicionale 8’
70 Gamba 8’
71 Ottava 4’
72 Flauto ottaviante 4’
73 Flauto in XIIa 2’ 2/3
74 Piccolo 2’
75 Cornetto 3 file
76 Unda Maris 8’
77 Tromba dolce 8’
78 Clarinetto 8’
79 Tremolo
Pedal
80 Subbasso 32’
81 Contrabbasso 16’
82 Principale 16’
83 Bordone 16’
84 Violone 16’
85
86
87
88
89
Armonica 16’
Gran Quinta 10’ 2/3
Ottava 8’
Bordone 8’
Violoncello 8’
90
91
92
93
94
Quinta 5’ 1/3
Ottava 4’
Ripieno 8 file
Controbombarda 32’
Bombarda 16’
Couplers and Cancels
35 II 8’ Ped
36 II 4’ Ped
37 III 8’ Ped
38 III 4’ Ped
39 I 8’ Ped
40 I 4’ Ped
41 III 16’ II
42 III 8’ II
43 III 4’ II
44 I 16’ II
45
46
47
48
49
50
51
52
53
54
I 8’ II
I 4’ II
III 16’ I
III 8’ I
III 4’ II
II 16’ II
Ann unisono
II 4’ II
III 16’ III
Ann unisono
55
56
57
58
59
60
61
62
63
64
65
III 4’ III
I 16’ I
Ann unisono
I 4’ I
Ann ance I
Ann ance II
Ann ance III
Ann ance Ped
Ann Rip II
Ann Rip III
Ann Rip Ped
Toe Pistons
Otto combinazioni libere *
I al Ped
II al Ped
III al Ped
III al I
I al II
III al II
Expression Pedal
Sweller
Espressione III
Espressione I
Toe Pistons
Rip III
Rip II
Ance
Forte Gen
Ped I 1
Ped II 2
Ped III 3
Ped IV 4
Ann Ped
* The new electronic drive has 64 levels of
memory.
In cooperation with:
Electrical action.
Movable console.
Three 61-notes keyboards (C1 C6).
32-notes radiating pedalboard (C1 G3).
Great Organ in Cornu Evangelii, Swell and Positive Organ
in Cornu Epistolae.
Our previous guests:
1992
Jean Guillou (France)
1993
Josè Luis Gonzalez Uriol (Spain)
Gianluca Cagnani (Italy)
Francois Seydoux (Switzerland)
1994
Jan Willem Jansen (Holland)
Alessio Corti (Italy)
William Porter (United States)
1995
Rudolf Meyer (Switzerland)
Luca Antoniotti (Italy)
Christoph Bossert (Germany)
1996
Jean Ferrard (Belgium)
Jurgen Essl (Germany)
Erik-Jan van der Hel (Holland)
1997
Stef Tuinstra (Holland)
Francesco Finotti (Italy)
Peter Planyavsky (Austria)
Matt Curlee (United States)
1998
Benoît Mernier (Belgium)
Krzysztof Ostrowski (Polonia)
Martin Baker (England)
Naji Hakim (France)
1999
Gustav Leonhardt (Holland)
Rudolf Lutz (Switzerland)
Frédéric Blanc (France)
Andrea Boniforti (Italy)
2000
Martin Haselböck (Austria)
Wolfgang Seifen (Germany)
François Ménissier (France)
Pier Damiano Peretti (Italy)
Speciale Bach 2000
Francesco Finotti (Italy)
2001
John Scott (England)
Erwan Le Prado (France)
Jos van der Kooy (Holland)
Jean-Claude Zehnder (Switzerland)
2007
Michael Radulescu (Austria)
David Briggs (England)
Marco Beasley (Italy) -tenGuido Morini (Italy)
Robert Kovács (Hungary)
Barbara Dennerlein (Germany)
2002
Klemens Schnorr (Germany)
P. Theo Flury (Switzerland)
Ansgar Wallenhorst (Germany)
Jean Guillou (France)
2008
Simon Preston (England)
Lionel Rogg (Switzerland)
Ulrich Walther (Germany)
Antonio Frigé (Italy)
Gabriele Cassone (Italy) -trLouis Robilliard (France)
2003
Michael Kapsner (Germany)
László Fassang (Hungary)
Luigi Ferdinando Tagliavini (Italy)
Pierre Pincemaille (France)
2009
Daniel Roth (France)
Wayne Marshall (England)
Jacques van Oortmerssen (Holland)
Aaron Edward Carpenè (Australia)
David Franke (Germany)
Kenneth Gilbert (Canada)
2004
Ewald Kooiman (Holland)
Stefano Innocenti (Italy)
Thierry Escaich (France)
Robert Houssart (England)
Francesco Tasini (Italy)
2010
Jean Guillou (France)
Jan Raas (Holland)
Jean-Baptiste Dupont (France)
Corrado Colliard (Italy) -serVittorio Zanon (Italy)
Hans-Ola Ericsson (Sweden)
2005
Guy Bovet (Switzerland)
Zuzana Ferjencíková (Slovakia)
Ben van Oosten (Holland)
Loïc Mallié (France)
Lorenzo Ghielmi (Italy)
Isabella Bison (Italy) -vl-
2011
Eric Lebrun (France)
Claudio Astronio (Italy)
Gemma Bertagnolli (Italy) -sopKalevi Kiviniemi (Finland)
Samuel Liégeon (France)
Bernhard Haas (Germany)
2006
Olivier Latry (France)
Gerben Mourik (Holland)
Nigel Allcoat (England)
Bruce Dickey (United States) -corLiuwe Tamminga (Holland)
Bruno Canino (Italy) -pfClaudio Brizi (Italy)
2012
Michel Bouvard (France)
Omar Zoboli (Italy) -oboeStefano Molardi (Italy)
Bob van Asperen (Holland)
Paul Goussot (France)
Organisti di Bergamo (Italy)
Theo Brandmüller (Germany)
Ferruccio Bartoletti (Italy)
Wolfgang Seifen (Germany)
Free Entrance
Associazione Culturale Città Alta
Via Zelasco, 1 - Bergamo
President: Maurizio Maggioni - Artistic Director: Fabio Galessi
Secretary: Pierangelo Serra
Tel. +39.035.213009 - www.organfestival.bg.it