Why is It (Not) Difficult to Compose for Organ? A Project Study on Compositional Challenges in a Musical Craft

Abstract

This thesis investigates the specific challenges and compositional strategies involved in writing for the organ from a contemporary perspective. The central research questions are: Why is it difficult to compose for the organ? and What fundamental knowledge is required to do so effectively? Drawing from the author’s own creative process—including the composition and premiere of an original prelude and fugue—the study examines both technical and artistic considerations. The project combines artistic research with reflective documentation. A detailed log book traces the compositional development, from initial sketches to the final performance. Key aspects such as registration, manual division, notation choices, and instrument-specific adaptation are explored. The work also identifies core skills that organ composers should master, based on both traditional practices and personal discoveries. The main results highlight the importance of understanding the organ’s physical limitations, the diversity of instruments, and the adaptability required from both composers and performers. Furthermore, the project suggests that composing for the organ becomes more intuitive and expressive through iterative practice, dialogue with performers, and hands-on experimentation. The thesis concludes with a summary of practical insights for future composers and reflects on the artistic growth that emerged through the process.