Peter Ewers plays improvisation at St-Aposteln, Cologne (Live-Improvisations for organ)

Suite symphonique: 4. Méditation sur le choral "Dich liebt, oh Gott, mein ganzes Herz" (GL Köln 851)

Listen to all parts of this recital from 10th of March 2013 at
www.peterewers.bandcamp.com

Find more informations for improvisation at www.vpe-web.de

Extract from the book "Just play! An invitation to improvisation"
(will be published in april 2013; mail for subscription-order)

"Listening expectations
Frequently the méditation, often in slow tempo, serves a particular purpose. Quite the classical piece is a peaceful movement, which brings concentration and relaxation before a passionate finale, or a méditation is absolutely functional, e.g. as music in a longer liturgical situation which can take a solemn quiet (communion/eucharist).
Just background music?
Good question, but you will probably disagree. This feeling is a good motor for your improvisation!
My suggestion: In this matter you should make unmistakably clear who is talking, and well with very few bars! Yes, you've heard right. This has got to do with expression, with decisiveness and a very suggestive power to construct -- or deconstruct reality.
Some organists are bothered by the very fact that the liturgist prescribes them to play „discreet instrumental music". Oh yes, music as the servant of the word (motu proprio etc.), we know that. Stop! Right here the will to express yourself can create a highly smart and un-(!)expected answer! But how?
Ask yourself with minuteness: What is the listening expectation for a méditation („sub communionem" etc.):
- not superficial and invasive (hence the common misinterpretation „discreet=quiet")
- appropriate to the character of the ceremony
- by means of the music introducing the hearts of the believers even deeper into the mystery of the incarnation etc. pp.
O.K., you will say, you know that and you may have doubts if an improvisation can accomplish all that. Is the frustration piping up? Well, when you are emotionally open, the improvisation will work better for you at any rate. Sort out this listening expectation in detail:
on 1.) Not superficial and invasive, but present! It might be quiet and discreet regarding the volume, but in the case itself the whole audience just by being there enters the realm of your notes, rhythms and textures -- and right in this moment. So you have good reason to keep within what you are doing with incredible presence of mind.
Begin with a single note (c.f. melodics) and build up the first intervals to a singable sequence of notes, which by its inner proportions creates a fit to the listening expectations of your audience, in a very new way.
Remember once again the instigations given within the parameter of rhythm. Flip open for the listener the invisible score and demonstrate him empathetically, gently, but unmistakably: „You, dear listener, you are here! The same listening expectation about the tonal events are in force as to me as the interpretor." And if you like, even more over-egged: „Confide in me, let your thoughts go and follow the sounds."
The suggestive language reveals: This is not about harmonology etc., but about a highly subtle process:
To meet the audience right where it is
Grant yourself time to listen; within yourself to feel the own tension, to decide, to turn you over to this pressure. You can yield to this pressure gently, because you know: In your improvisation you will find no trouble to be present. Just play! It gives you no trouble to just be there. Your music invites to totally become oneself (as interpretor and as listener). A méditation can radiate how peaceful and redeemed people can experience themselves, who know and sense: It suffices just to be there."

Extract from the book "Just play! An invitation to improvisation"
will be published in april 2013

"Just play!" tries to close a gap between the improvisation schools often simple and orientated to Cadence models based on the one hand and very complex, most classical schools (Dupré) to conservatories.
"Just play! An invitation to improvisation" uses five musical parameters of meter and rhythm, melody, harmony, timbre and dynamics, which are explained in more detail using handle images and opened up for the practice.
The improvisation requires a precise plot as a screenplay (storytelling). Examples of Dupré, Fleury and Tournemire or registrations to Cochereau, Leguay and others is about the sound concepts for improvisational ideas. The aim is the development of voltage to keep - against each improvisation routine open.
"Just play" gives numerous music examples and the analysis and playback of compositions/improvisations by André Fleury, Marcel Dupré, Charles Tournemire along with playback of the main Gregorian themes as further impetus.