The future organist is easily recognizable: he will be the one who, when coming into a church, will turn his neck aiming his gaze up to the choir wishing to be encouraged and helped by someone who tells him: “come on, go up to the choir, sit on the bench, listen to the silence of the temple emptiness, choose the stops and make them sound filling the space existing between the impressive stone walls with your art, fantasy and imagination”.

With slightly more than six centuries of music and organological evolution behind it, the organ performance and its learning process must count on a great theoretical training which provides the student –performer in the process of discovering his own language- with the necessary tools to carry out a performance in keeping with Historical Sources. They will establish the guidelines on how to draw the stops or how to choose the colours conveniently; on how to finger or which fingers to choose so that the musical text gets to talk with the beauty and taste of the period and place in which it was composed; on how to articulate or recite the syllables and words of this musical text; on how to phrase or lead the discourse in accordance with the line or gesture that the composer –citizen from a certain place in a certain epoch- wanted to draw on the stave. All this has remained profusely codified in the various Sources (registration treaties, methods containing wide explanations on fingering, articulation, phrasing, ornamentation, tempi, etc.).

To Saskia, the aim of Organ teaching is to convey all this information, to teach how to manage it, how to interpret it and, finally, how to reflect it on the audible result. Being always aware of the borderline between the historicist fundamentalism and the lawless creativity, in this teaching method, the theoretical content will always be in perfect balance with each student’s creativity, individualism and expressiveness when it comes to put it into practice. Saskia’s purpose is to accompany and guide the student in order to help him to find his own language, his way of expression so that he succeeds in transmitting with plasticity the translation, in that moment of his life, of the musical text.

Translation: Elena Hernández