Festivais Culturais da Madeira



Thursday, 24 October, 9.30, p.m.
Church of São João Evangelista (Colégio)

Hans-Ola Ericsson: organ





























Johann Sebastian Bach (1685-1750)


Prelude and Fugue in C major, BWV 531
Canzona, BWV 588
Fantasy in C major, BWV 570
Prelude (fantasia) and Fugue in D minor, BWV 549a
Prelude and Fugue in C major, BWV 566
Prelude and Fugue in A minor, BWV 551
Passacaglia in C minor, BWV 582
Prelude in A minor, BWV 569
Prelude and Fugue in G major, BWV 535a (fragment)
Toccata and Fugue in D minor, BWV 565



The Young Bach
Already in Johann Sebastian Bach's youth, he was recognised as an artist and as a virtuoso musician, even though at first he was simply an eager and curious learner and practitioner. The mixture of a high level of musical talent, curiosity, and hard work created in one single musician a musical genius who wanted to live according to Buxtehude's saying: “Non hominibus, sed Deo”(Not to men, but to God). When we talk about "the young Bach", we talk about his childhood in Eisenach (1685-1695), his childhood and youth in Ohrdruf (1695-1700), his time as student in Lüneburg (1700-1702), and his first position as organist in Arnstadt (1703-1707).


Prelude and Fugue in C major, BWV 531 – In this work, one can hear the youthful eagerness, the overwhelming temperament, the virtuosic passagework in the manuals and in the pedal, bordering on showing off, as if he provocatively wanted to distance himself from the past.


Canzona in D minor, BWV 570 – The young Bach could also compose in this restrained, sensible, and meditative way. He chose the genre of the Canzona, originally from the South German/Italian tradition.


Fantasia in C major, BWV 570 – This very quiet, beautiful, and calm piece is actually an etude to achieve “a very careful legato playing and lightness when releasing the finger from the key.” (Philip Spitta)


Prelude and Fugue in C major, BWW 531 and Prelude and Fugue in D minor, BWV 549a – If BWV 531 was furious, virtuosic and extrovert, than the Prelude and Fugue in D minor is introvert, restrained and self-reflecting. It is composed in the subtler key of D minor in contrast to the majestic C major of BWV 531. In this sense there is an obvious complementarity between the two pieces.


Prelude and Fugue in C major, BWV 566 – This is a piece in a grand style work with strong connections to the later works. Set aside all signs of immaturity that have been connected to this piece; it shows the young Bach as a virtuoso as well as composer who reaches out to large compositional forms and thus anticipates his later works.


Prelude and Fugue in A minor, BWV 551 – Here we meet the systematic Bach within the symmetrical form of the piece: Prelude - Interlude - Fugue - Interlude - Postlude. Bach makes particular play with the different chromatic colours.


Passacaglia in C minor, BWV 582 – Bach's compositional mastery is particularly evident in the Passacaglia. The work reaches far beyond existing models. The 21 variations "exhibit absolute control over compositional principles, musical form, figurative material, fugal devices, and harmonic strategies." (Christoph Wolff) 
Prelude in A minor, BWV 569 – This prelude is an etude in the use of all keys and that also plays through all possible descending sequences.


Prelude and Fugue in G minor, BWV 535a – This unfinished piece is recognised as one the earliest works by the young Bach. It may have been composed in 1707. The piece itself is composed in the stylus phantasticus, a style that was the normal for preludes and toccatas of this time.


Toccata and Fugue in D minor, BWV 565 – This is a furious, dramatic, and breath-taking piece, and perhaps Bach's best-known. It is suspected that was it originally a piece for solo violin, since so much of its passagework has a violinistic character.


Hans-Ola Ericsson


Thursday, 24 October, 9.30, p.m.
Church of São João Evangelista (Colégio)

Hans-Ola Ericsson: organ

Hans-Ola Ericsson


Hans-Ola Ericsson studied music in Stockholm and Freiburg and later in the USA and in Venice. He is active as concert organist, as composer and as pedagogue. In 1988 Hans-Ola Ericsson was appointed professor at the School of Music in Piteå/Luleå University of Technology and since 2011 has also been professor and university organist at the Schulich School of Music of McGill University in Montreal, Canada. He has given concerts throughout Europe as well as in Japan, Korea, Canada and the USA. He has made numerous recordings, including a highly acclaimed complete recording of Messiaen´s organ music. He has been engaged in extensive work with, amongst others, John Cage, György Ligeti, Bengt Hambraeus and Olivier Messiaen on the performance of their works for organ. In 1996 Hans-Ola Ericsson was appointed permanent guest professor at the Hochschule für Künste in Bremen, Germany. In the spring of 2000 he was named a member of the Royal Swedish Academy of Music. In recent years, several works by Ericsson have been premiered: a church opera, several pieces for organ and electronics, a chamber orchestra piece, and works for choir.


 Notes about organ

Thursday, 24 October, 9.30, p.m.
Church of São João Evangelista (Colégio)

Hans-Ola Ericsson: organ



















Church of São João Evangelista (Colégio), Funchal


This instrument, with 1586 sounding pipes, is situated in a religious space with certain particularities. As a church typical of those belonging to Jesuit colleges, with a broad nave and quite a gentle acoustic, the organ had to be specially conceived, especially with regard to the measurements of the pipes. Thus all the pipework of the instrument has been specifically tailored to produce a full sound, and each stop produces a timbre with an individual personality, forming part of a harmonic ensemble based more on the sound of fundamentals and less on harmonics. It was also felt to be essential to give the instrument a certain ‘latin’ sonority that would favour performance of ancient music of the Italian, Spanish and Portuguese schools of the 17th and 18th centuries.


Another aspect to be taken into consideration was the need to complement the current range of organs available locally: the new organ responds in an ideal fashion to the performance of works of periods and of technical and artistic requirements that none of the 24 historic instruments of Madeira cater adequately for. It also enhances the range of organs that constitute the island’s heritage by being present in this particular religious space, as well as by existing side by side with other historical instruments. In the decision to build it for this church, not only were the issues of acoustic, aesthetic and liturgical space taken into account, but also the presence there of an important historic instrument which is currently on the list of instruments undergoing restoration.



I Manual - Órgão Principal (C-g’’’)

Flautado aberto de 12 palmos (8’)
Flautado tapado de 12 palmos (8’)
Oitava real (4’)                   
Tapado de 6 palmos (4’)                 
Quinzena (2’)
Dezanovena e 22ª                              
Mistura III                                                
Corneta IV                                               
Trompa de batalha* (mão esquerda / bass)          
Clarim* (mão direita / treble)
Fagote* (mão esquerda / bass)
Clarineta* (mão direita / treble)


II Manual - Órgão Positivo (C-g’’’)

Flautado aberto de 12 palmos (8’)
Tapado de 12 palmos (8’)
Flautado aberto de 6 palmos (4’)
Dozena (2 2/3’)
Quinzena (2’)
Dezassetena (1 3/5’)
Dezanovena (1 1/3)
Címbala III
Trompa real (8’)


Pedal (C-f’)                                                                                

Tapado de 24 palmos (16’)           
Bordão de 12 palmos (8’)                                 
Flautado de 6 palmos (4’)                                
Contrafagote de 24 palmos (16’)
Trompa de 12 palmos (8’)




* horizontal reeds