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“.

Case study Käte van Tricht (1909-1996)
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Karin Gastell


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.

Since, the historical informed performance practice appears to be less definitive; Van Tricht is forgotten. Could it be possible to develop a type of performance that respects both developments? The newly obtainable perspective would thereby interestingly require and re-generate the artist's personal responsibility. With Van Tricht's heritage as a starting point, we can begin to ask: how can I play Bach today by „feeling how it must have been like back then“ and, co-instantaneously, not forgetting the results of the research on Bach and keeping in mind Ligeti's volumina? The next step would be to ask these questions respecting other music, old and new.

Prof. Frans de Ruiter (1ste promotor)