Weekly Premiere!

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As a distraction in these times of the coronavirus there is a new piece of music every week. A short or longer piece composed for organ and to be listened to on the internet. Each piece is provided with a short explanation. Would you like to receive a free premiere by mail every week? You can do so by registering via the link below. When real concerts can be given again, you will also receive an invitation for those concerts.

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The weekly premiere is a new initiative in which a new piece for organ is premiered every Sunday. These are pieces by different composers and organists, known and unknown. The pieces will be played on the organ of the Sint-Martinuskerk in Maastricht by Nick Goudkuil, initiator of this project and organist-conductor of the Sint-Martinuskerk. A growing number of composers are now working on the project, including Christos Kavour, Rick Debie, Joachim Junghanss, Hans Leenders and Gerben Budding.

All the musicians are involved in the project without any financial interest, and the premieres can always be listened to, free of charge. If you wish, you can support the project with a donation. This will cover the costs of the project and eventually try to offer the composers some form of honorarium. If you would like to make a donation, click here.

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8. Sunday 24th of May 2020 – 2 Martinus-antifonen

7. Sunday 17th of May 2020 – Méditation


6. Sunday 10th of May 2020 – Going to church


5. Sunday 3th of May 2020 – 4 versets sur le nom de Saint-Martin

The name ‘Martin’ yields the following musical notes: e – a – b – d – a – f. Based on the notes and the resulting motif the piece was written. The piece consists of 4 short movements.
The first movement starts sparkling in an asymmetrical measure with the motif sounding mainly in the pedal. The choice of chords is also based on these notes.
The second movement has a calmer character, the motif sounds clearly as melody in the top note.
The third movement is very short. The motive sounds like a mechanism in short notes and is then played twice in the pedal in longer notes.
The last movement starts with the motive twice followed by soft, warm chords. This repeats itself again in a varied form. Then the asymmetrical metre returns again, but in a different way than in the beginning. The bass notes and harmonies are borrowed from the original series of notes.

4. Sunday 26th of April 2020 – Katathesis

Composer Christos Kavour wrote the following words about the piece: Katathesis is a Greek word, meaning deposit. Katathesis is a pray you deposit to talk with your inner self. A piece for solo church organ, written for this special time, as a deposit of soul in the state of time. Time that’s seems static as the  the place we live in each one of us and we have only thoughts, prays, an inner soul to deposit for exploration.

3. Sunday 19th of April 2020 – Fantaisie sur Ave Maris Stella

In this composition we hear a number of variations on the melody Ave Maris Stella. The first time we hear the melody accompanied by warm, quiet sounds. Then we hear the melody appear as a fugue exhibition: the voices imitate each other. The rhythm resembles a folk dance. Then we hear the melody sound in depth under a shimmering accompaniment of arpeggios. Then a soft, meditative variation and finally a short but powerful ending!

2. Sunday 12th of April 2020 – Victimae paschali laudes

In this second piece we hear another Gregorian melody, namely Victimae paschali laudes. This melody is often sung at Easter. The melody emerges in several layers in a toccata-like beginning. Then a quiet middle part in which parts of the melody emerge fragmentarily, clearly but also more hidden. Then only a short motive from the melody over which a large crescendo is built to finally hear the beginning of the melody fortissimo once more.

1. Sunday 5th of April 2020 – Prélude sur Hosanna filio David

This prelude for organ is based on the Gregorian melody of ‘Hosanna filio David’ and therefore very suitable for Palm Sunday. We hear an introduction derived from the initial motif of the melody and then a development in faster note values. Then – more or less meditative – the melody sounds clearly accompanied by quiet chords. Finally a variation of the opening returns.

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