1.Examples for programme conceptions
at organs, which are "stylistically manifold" and not too small, thus permitting almost every choice of organ literature:
"Mirror"
This does not signify the simple symmetrical arrangement of composers' names,
rather the sounding pieces of music are positioned within the programme on
the basis of their form, duration, sound or density, e.g.:
"Tourist"
Several pieces from one composer of the 20th century "visit" a programme
which usually moves between Renaissance and Baroque music, e.g.:
Kaiser-Wilhelm-Gedächtniskirche, Berlin
"Central
Theme"
All pieces of this programme have one common "inner" quality. This
may be, for example, some tonal or structural relationship, or reference to
the titles of each piece of music (for instance a reference to "former
times"), e.g.:
2. Examples of recitals at "historical" organs
Historical organs, or instruments, which are bound to a certain style owing to their construction, do of course allow conceptual principles too when shaping a programme. However, in this case, the epoch or characteristic style of the instrument, which sounds optimal in its "natural" state, has priority:
"Balance"
Two consecutive pieces in a programme "balance out" respictively
a contrast regarding volume of sound or structural density, e.g.:
Freiberger Dom Pauluskirche Ulm
"Mirror" (s.a.)