Grant: RTF67
Title: Somniorum (for organ)
Premiere: 5 June 2026, Orgelpark, Amsterdam
Detail: With the support of the Orgelpark, Amsterdam and the Hamel Foundation as co-commissioners, RTF has commissioned Maria W Horn to create the fourth in the series of New Organ Works to accompany the commissions by Kali Malone, Claire M Singer, and Robert Curgenven.
Somniorum is written for the Orgelpark’s Utopa Baroque Organ. The piece is developed in three parts, each of which is built around a harmonic wheel of eight stanzas that form a gradual progression over the duration of each section.
Each part approaches the fundamental material of the work from a different perspective; the first part elongates the tonal relations in polyphonic equilibrium while part two explores the same intervallic relations as a rhythmic process, as patterns which move with slight phase shifts in relation to each other resulting in stern disorienting complexities. In the third part each layer of the four-part movement is augmented by acoustic echoes, refractured transpositions of the same fundamental interval relations.
Maria used the Orgelpark’s digital hyperorgan console as part of the preparatory writing process, allowing her to compose beyond the limits of the human hand and to incorporate algorithmic processes, creative registrations and broad keyboard transpositions.
Maria W Horn is a Swedish composer whose work explores the inherent spectral properties of sound. Her compositions employ a varied instrumentation ranging from analog synthesizers to choir, string instruments, pipe organ and various chamber music formats. Synthetic sound is often paired with acoustic instruments to extend the instruments timbral capacities with precise control of timbre, tuning and texture. She combines spectralist techniques and site-specific source material to explore the inherent memories of a building, object or geographical area. In her recent compositions she uses acoustic artifacts from physical spaces to create musical frameworks for her compositions. Using these acoustic imprints as a starting point she weaves intricate harmonic patterns that slowly transform from intimate fragility to searing high-density aural monoliths.