Every year, when the sun has passed its summer peak on its repetitive course and the corn in the fields has already reached a respectable height, a wide variety of people with a special common interest approach the Upper Swabian village of Obermarchtal from all directions. First you cross the pretty and quiet village and stand in front of the archway of a rather imposing building flanked by a cozy inn. Then you cross the long gate and, as in a fairy tale, you feel as if you have been transported to a distant world. Suddenly you are standing in the middle of a charming park, a summer breeze is blowing, the sun is shining, the storks are rattling their beaks and the nearby Danube is rushing. In the middle of the park is a baroque palace complex - but no, you have to remember that this is not a palace, but a monastery and its main building is the cathedral. You stroll along a park path until you reach a heavy wooden door with wrought ironwork, which would be a work of art in itself if it wasn't a door. When you enter, you are almost fascinated a second time, because what was only hinted at outside reaches its climax inside, a unique baroque splendor! There is not a corner of this church building that is not decorated with meaning and artistry. Then you climb up a spiral staircase to the gallery and find yourself at your destination, the great organ by Johann Nepomuk Holzhey (1741-1809) from 1780.
The Upper Swabia Organ Academy 2024 took place at this special location from July 25 to 28. 17 organists and organ lovers responded to the call of Michael Grüber, organizer and soul of the Organ Academy, to spend four days getting to know this historic baroque organ, playing different literature, exchanging experiences and gaining new impressions and inspiration. Gregor Simon, who is the custodian of the famous Holzhey organ, opened the event with a presentation on the technical and tonal diversity of the three-manual instrument.
The internationally renowned organist and harpsichordist Léon Berben from Cologne was invited as a lecturer. Born in the Netherlands, he not only impressed with his own playing technique and musicality, but also listened to the performance of each individual participant, worked with the participants on interpretation, gave recommendations on performance practice and, with his calm and empathetic manner, formed the most pleasant center of a circle of professional, but also honorary church musicians and friends of organ music.
Léon Berben first observes, asks about concerns and, above all, provides encouragement and support for the organist's own conscious decisions, so that the organist can make a statement through the music and reach the audience. Based on well-studied historical sources, Berben provides sound specialist knowledge and practical tips for the 17th and 18th century literature selected by the participants: Use of the pedal, “old” vs. modern fingering, registrations, inegal playing, articulation, structure and meter, methods for practicing, movement and rhythm, ornamentation, dissonance and consonance, cantabile playing, conscious shaping of the middle voices in polyphonic playing, tempo rubato, general stylistic issues, and much more.
The organists had several organs in Obermarchtal and Untermarchtal at their disposal for practicing. Music was played throughout the day and the organ in Obermarchtal Minster did not fall silent at night either, as the nocturnal mood was also transformed into a musical atmosphere. And when the organ did fall silent, the music continued in conversations and discussions in such a cozy atmosphere that even the old Bach from Eisenach or other great masters would have sat down.
Another item on the agenda of this year's Organ Academy was the lecture by Dr. Andreas Weil on new findings regarding the authorship of the Toccata in D minor BWV 565 and the 8 little preludes and fugues long attributed to Johann Sebastian Bach.
At the end of the organ academy, two concerts took place that were well received by the audience: the traditional participants' concert with music from the early baroque to the classical period and a concert by Leon Berben himself as part of the Bach cycle. Some of the course group used the late Sunday morning to get to know and play the Holzhey organ in Rot an der Rot.
After four days, it was time to say goodbye again, but not without shaking hands and assuring each other that not everything had been said and played and that they would certainly meet again.
The special thanks of all participants therefore go to all those in Obermarchtal and Untermarchtal who contributed to the success of the Upper Swabia Organ Academy 2024.
Daniel Vendura