"The Four Seasons with Organ, Dance, and Poetry"

dc.date.accessioned	2013-01-09T15:10:51Z
dc.date.available	2013-01-09T15:10:51Z
dc.date.issued	2012
dc.identifier.uri	http://hdl.handle.net/2077/31853
dc.language.iso	eng	sv
dc.subject	Georg Böhm	sv
dc.subject	North German Organ	sv
dc.subject	Örgryte nya kyrkan	sv
dc.subject	Dance	sv
dc.subject	Organ performance	sv
dc.subject	Poetry	sv
dc.subject	William Blake	sv
dc.subject	Henry Carlile	sv
dc.title	"The Four Seasons with Organ, Dance, and Poetry"	sv
dc.type.svep	artistic work
dc.contributor.creator	Davisson, Hans
art.typeOfWork	Performance with organ repertoire, organ improvosiation, dance, poetry reading, and lighting design.	sv
art.relation.publishedIn	Göteborg Internaional Organ Academy 2012, Örgryte nya kyrkan	sv
art.description.workIncluded	Program	sv
art.description.workIncluded	Spår 1 klockringning
art.description.workIncluded	Spår 2 Winter /William Blake
art.description.workIncluded	Spår 4 Winter / Henry Carlile
art.description.workIncluded	Spår 5 improvisation
art.description.workIncluded	Spår - 6 Böhm Vom Himmel hoch
art.description.workIncluded	Spår 7 Böhm Wer nun den lieben Gott läßt walten
art.description.workIncluded	Spår 8 Spring / William Blake
art.description.workIncluded	Spår 9 Böhm Praeludium in C
art.description.workIncluded	Spår 10 Spring /Henry Carlile
art.description.workIncluded	Spår 11 Improvisation
art.description.workIncluded	Spår 12 Summer / William Blake
art.description.workIncluded	Spår 13 Böhm Praeludium in d
art.description.workIncluded	Spå 14 - 18 Böhm Herr Jesu Christ, dich zu uns wend
art.description.workIncluded	Spår 19 Fall / Henry Carlile
art.description.workIncluded	Spår 20 Pärt pari Intervallo
art.description.workIncluded	Spår 21 Böhm Water unser in Himmelreich
art.description.workIncluded	Spår 22 Autumn / William Blake
art.description.workIncluded	Spår 23 Böhm Praeludium in g
art.description.workIncluded	Spår 24 applause
art.description.project	As part of the Göteborg International Organ Academy 2012, Hans Davidsson participated as guest artist in residence. Prof. Hans Davidsson led a series of masterclasses, workshops and concerts exploring the north German Chorale Fatasia and Georg Böhm's organ works using the University organ in Örgryte nya kyrkan as a tool to explore this repertoire in its original quarter-comma meantone temperament, an experiment that still can be done in very rare cases, an nowhere else in the world in the original scale of the monumental north european hanseatic city organs. The concert Davidsson designed and performed for the Academy was a multidisciplinary art work that was meant to showcase one of the important themes for the Academy, the organ works of Georg Böhm. Böhm's music comes from the high baroque period of composing that is often referred to as musica poetica, in which the composer intends to compose a piece of music on a text in order to allow a singer to declaim the text as if she or he is making a rhetorical speech. From the moment the first soloist steps out of the chorus and becomes an individual character in Monteverdi's Orfeo, the musica poetica of the seconda prattica is born. Musicians begin to represent individual characters in music who try, with text artfully coupled to expressive composition, to literally move the affections of the listeners. the role of musica poetica is well known in organ compositions connected to chorale texts (the other major theme of this year's Organ Academy) but is yet to be fully explored in the music without text that modern musicians and scholars have perhaps wrongfully thought of as "abstract music" in its modern sens. Perhaps there are inventios, stories, if you will, behind these pieces that look like abstract music to the untrained eye. Perhaps the compositional process and the choice of rhetorical figure and affect were more often steered by a text, or an inventio, even when a choral melody was not present. Hans Davidsson is one of the leading performers in our field actively exploring what happens in performance when this so-called abstract musical repertoire ceases to be abstract for the performer when coupled to a text-based story. In order to make this particular experiment as concrete as possible for an audience, the abstract pieces of Georg Böhm (1661-1733) were arranged according to the historical inventio of the four seasons and connected to contemporary examples of poetry: a cycle of four poems on the four seasons by William Blake (1757-1828). The poems were read before each section, and the dances conceived and performed to the music allowed modern dancers to physically embody and thus communicate to the audience their own artistic understanding of the underlying affekts and specific musical rhetorical figures and dance forms in Böhm's keyboard music. A parallel experiment within the concert used music by Arvo Pärt (1935- ) as well as improvisations by Hans Davidsson. The poems based on the seasons for the contemporary presentation of each season were written by the contemporary west-coast American poet Henry Carlile and also served as catalysts for improvisations at the organ as well as the accopmanying dance improvisations. Hans Davidsson, organ, Stayce Camparo, Jonathan and Gabriel Davidsson, dancers. Joel Speerstra, reader. Joakim Brink, lighting design. For more information about the performers, see the attached pdf of the complete program of the Götebog Internaional Organ Academy 13-15 September, 2012.	sv
art.description.summary	A multidisciplinary artwork exploring the four seasons using music by Böhm (1661-1733), Pärt (1935- ) and improvisations and dance. Poetry by Blake (1757-1828) and Carlile. Hans Davidsson, organ, Stayce Camparo, Jonathan and Gabriel Davidsson, dancers. Joel Speerstra, reader. Joakim Brink, lighting design.	sv
art.description.supportedBy	The Göteborg International Organ Academy Association, Högskolan för scen och musik och GOArt vid Göteborgs universitet, City of Göteborg, The Friends of the Organ Art, Örgryte Parish	sv