In the recent issue

The September 2024 issue opens with an article by Lourens Stuifbergen on the organ compositions of Jacob Bijster (1902–1958). He explores the defining characteristics of Bijster’s organ works, illuminating their unique qualities.

In his column, Jos van der Kooy shares insights from his experiences rehearsing and performing contemporary organ music, advocating for a balanced programming approach that includes both new and traditional works.

The Gideon Thomas Bätz organ (1796) from Utrecht’s Domkerk remains shrouded in mystery. For whom was it originally built, and where was it first installed? While it is known that the organ was once housed at Middachten Castle, its journey before reaching Utrecht Cathedral is less clear. Reinoud G. Egberts presents new research and interpretations on the organ’s history.

Several prominent figures in the organ community have recently passed away. Tymen Jan Bronda pays tribute to his former organ teacher, Johan Beeftink; Cor van Wageningen has written a memorial for Johan van Dommele; and Sietze de Vries commemorates Jürgen Ahrend.

This issue also highlights improvisation. Last March, the International Organ Festival Haarlem organized an ‘Excellence Masterclass in Improvisation,’ led by teachers Zuzana Ferjenčíková, Thomas Lacôte, and Franz Danksagmüller. Hayo Boerema attended and reports on the masterclass.

Boerema also covers the three rounds of the 2024 International Improvisation Competition Haarlem. Unlike in 2022, when the jury declined to award a prize, this year a winner was selected. Boerema examines whether the level was higher, if the jury was less critical, or if the assignments differed.

In the organ-building news section, Bert den Hertog discusses three restoration projects: those at Mieraskerk in Krimpen aan den IJssel, H. Petrus Banden in Macharen, and Dorpskerk in Woubrugge.

The issue concludes with the fifth installment of Auke H. Vlagsma’s series on French organ facades from 1580–1630.