- Started in
- Musician type
- Host institution
- Leiden University
Karin Gastell gives concerts as organist and choirmaster. She studied Church Music (A) and completed the study program Artistic Education on the Organ at the Hochschule für Künste Bremen. As a fellow of the Bremer Senator für Inneres, Kultur und Sport, she conducted research on Organ Music by Women Composers of the Past and the Present.
In her capacity as artistic and research associate with the Hochschule für Künste Bremen, she hosted for the 100th birthday of Käte van Tricht the gala concert Mein Leben auf der Walze for the Bremer Dommusik. As a member of the Board of Directors of the John-Cage-Organ-Foundation Halberstadt (www.aslsp.org), she has initiated artistic and theoretical projects involved with the work of John Cage. She was intendant of the International Festival Halberstadt: A house full of music for the 100th anniversary of Cage's birthday.
Since 2003, the Allegro Choir has been performing under her leadership music from the Renaissance up to the present. She was artistic director of the festival Happy Birthday, Dear Dame Ethel Smyth! in celebration of the 150th birthday, conducting amongst other works her Great Mass. In order to inspire young people to sing oratorium music, she has developed the project Allegro4Youth. She also directs the Oldenburger Jugendchor, which is specialized in a capella music.
Other activities: author of musicological essays for publication in various media; artistic and research associate, Hochschule für Künste Bremen (2008-2010); Protestant church musician for the Catholic congregations of St. Hedwig/ Stadtgemeinde John XXIII. (Bremen, 1993-2003).
The Organ Art of the first female German concert organist and Bremen Cathedral organist and „historical informed music-making“ as a starting point for a „third perspective“.
In the second half of the 20th century, historical informed performance practice became the leading way in rendering “early” organ music. In advance to this development a so called modern approach had been presented, documented with “almost authentic Bach playing á la Straube” by Straube's student Käte van Tricht in her 1945 to 1992 recordings.