The Hammond organ is an electric organ, invented by Laurens Hammond and John M. Hanert and first manufactured in 1935. Various models have been produced, most of which use sliding drawbars to specify a variety of sounds; until 1975, Hammond organs generated sound by creating an electric current from rotating a metal tonewheel near an electromagnetic pickup, strengthening the signal with an amplifier so it can drive a speaker cabinet. Around two million Hammond organs have been manufactured; the organ is used with, associated with, the Leslie speaker. The organ was marketed and sold by the Hammond Organ Company to churches as a lower-cost alternative to the wind-driven pipe organ, or instead of a piano, it became popular with professional jazz musicians in organ trios, small groups centered on the Hammond organ. Organ trios were hired by jazz club owners, who found that organ trios were a much cheaper alternative to hiring a big band. Jimmy Smith's use of the Hammond B-3, with its additional harmonic percussion feature, inspired a generation of organ players, its use became more widespread in the 1960s and 1970s in rhythm and blues and reggae, as well as being an important instrument in progressive rock.
The Hammond Organ Company struggled financially during the 1970s, as they abandoned tonewheel organs and switched to manufacturing instruments using integrated circuits. These instruments were not as popular with musicians as the tonewheels had been, the company went out of business in 1985; the Hammond name was purchased by the Suzuki Musical Instrument Corporation, which proceeded to manufacture digital simulations of the most popular tonewheel organs. This culminated in the production of the "New B-3" in 2002, which provided an accurate recreation of the original B-3 organ using modern digital technology. Hammond-Suzuki continues to manufacture a variety of organs for both professional players and churches. Other companies, such as Korg and Clavia, have achieved success in providing more lightweight and portable emulations of the original tonewheel organs; the sound of a tonewheel Hammond can be emulated using modern software such as Native Instruments B4. A number of distinctive Hammond organ features are not found on other keyboards like the piano or synthesizer.
Some are similar to a pipe organ. Most Hammond organs have two 61-note keyboards called manuals; as with pipe organ keyboards, the two manuals are arrayed on two levels close to each other. Each is laid out in a similar manner to a piano keyboard, except that pressing a key on a Hammond results in the sound continuously playing until it is released, whereas with a piano, the note's volume decays. No difference in volume occurs regardless of how or the key is pressed, so overall volume is controlled by a pedal; the keys on each manual have a lightweight action, which allows players to perform rapid passages more than on a piano. In contrast to piano and pipe organ keys, Hammond keys have a flat-front profile referred to as "waterfall" style. Early Hammond console models had sharp edges, but starting with the B-2, these were rounded, as they were cheaper to manufacture; the M series of spinets had waterfall keys, but spinet models had "diving board" style keys which resembled those found on a church organ.
Modern Hammond-Suzuki models use waterfall keys. Hammond console organs come with a wooden pedalboard played for bass notes. Most console Hammond pedalboards have 25 notes, with the bottom note a low C and the top note a middle C two octaves higher. Hammond used a 25-note pedalboard because he found that on traditional 32-note pedalboards used in church pipe organs, the top seven notes were used; the Hammond Concert models E, RT, RT-2, RT-3 and D-100 had 32-note American Guild of Organists pedalboards going up to the G above middle C as the top note. The RT-2, RT-3 and D-100 contained a separate solo pedal system that had its own volume control and various other features. Spinet models have 12- or 13-note miniature pedalboards; the sound on a tonewheel Hammond organ is varied through the manipulation of drawbars. A drawbar is a metal slider that controls the volume of a particular sound component, in a similar way to a fader on an audio mixing board; as a drawbar is incrementally pulled out, it increases the volume of its sound.
When pushed all the way in, the volume is decreased to zero. The labeling of the drawbar derives from the stop system in pipe organs, in which the physical length of the pipe corresponds to the pitch produced. Most Hammonds contain nine drawbars per manual; the drawbar marked "8′" generates the fundamental of the note being played, the drawbar marked "16′" is an octave below, the drawbars marked "4′", "2′" and "1′" are one and three octaves above, respectively. The other drawbars generate various other subharmonics of the note. While each individual drawbar generates a pure sound similar to a flute or electronic oscillator, more complex sounds can be created by mixing the drawbars in varying amounts; some drawbar settings have associated with certain musicians. A popular setting is 888000000, has been identified as the "classic" Jimmy Smith sound. In addition to drawbars, many Hammond tonewheel organ models include presets, which make predefined drawbar combinations available at the press of a button.
Console organs have one octave of reverse colored keys to the
Southwell Minster is a minster and cathedral, in Southwell, England. It is situated six miles from thirteen miles from Mansfield, it is the seat of the Bishop of Southwell and Nottingham and the Diocese of Southwell and Nottingham. The earliest church on the site is believed to have been founded in 627 by Paulinus, the first Archbishop of York, when he visited the area while baptising believers in the River Trent; the legend is commemorated in the Minster's baptistry window. In 956 King Eadwig gave land in Southwell to Oskytel, Archbishop of York, on which a minster church was established; the Domesday Book of 1086 recorded the Southwell manor in great detail. The Norman reconstruction of the church began in 1108 as a rebuilding of the Anglo-Saxon church, starting at the east end so that the high altar could be used as soon as possible and the Saxon building was dismantled as work progressed. Many stones from this earlier Anglo-Saxon church were reused in the construction; the tessellated floor and late 11th century tympanum in the north transept are the only parts of the Anglo-Saxon building remaining intact.
Work on the nave began after 1120 and the church was completed by c.1150. The church was attached to the Archbishop of York's Palace which stood next door and is now ruined, it served the archbishop as a place of worship and was a collegiate body of theological learning, hence its designation as a minster. The minster draws its choir from the nearby school; the Norman chancel was replaced with another in the Early English style in 1234 because it was too small. The octagonal chapter house, built in 1286 with a vault in the Decorated Gothic style has naturalistic carvings of foliage; the elaborately carved "pulpitum" or choir screen was built in 1350. The church suffered less than many others in the English Reformation as it was refounded in 1543 by Act of Parliament. Southwell is; the fighting saw the church damaged and the nave is said to have been used as stabling. The adjoining palace was completely destroyed, first by Scottish troops and by the local people, with only the Hall of the Archbishop remaining as a ruined shell.
The Minster's financial accounts show. On 5 November 1711 the southwest spire was struck by lightning, the resulting fire spread to the nave and tower destroying roofs, bells and organ. By 1720 repairs had been completed, now giving a flat panelled ceiling to transepts. In 1805 Archdeacon Kaye gave the Minster the Newstead lectern. Henry Gally Knight in 1818 gave the Minster four panels of 16th century Flemish glass which he had acquired from a Parisian pawnshop. In danger of collapse, the spires were removed in 1805 and re-erected in 1879–81 when the minster was extensively restored by Ewan Christian, an architect specialising in churches; the nave roof was replaced with a pitched roof and the choir was redesigned and refitted. Southwell Minster was served by prebendaries from the early days of its foundation. By 1291 there were 16 Prebends of Southwell mentioned in the Taxation Roll. In 1540 the prebends and minster were suppressed but an act of Parliament in 1543 re-established the college and church collegiate of Southwell.
Under an Act of King Edward VI, the prebendaries were their estates sold. The minster continued as the parish church on the petitions of the parishioners. By an Act of Philip and Mary in 1557, the minster and its prebends were restored. On 2 April 1585 a set of statutes was promulgated by Queen Elizabeth I and the chapter operated under this constitution until it was dissolved in 1841; the Ecclesiastical Commissioners made provision for the abolition of the chapter as a whole. The chapter came to its appointed end on 12 February 1873 with the death of Thomas Henry Shepherd, rector of Clayworth and prebendary of Beckingham. In 1884 Southwell Minster became a cathedral proper for Nottinghamshire and a part of Derbyshire including the city of Derby; the diocese was divided in 1927 and the Diocese of Derby was formed. The diocese's centenary was commemorated by a royal visit to hand out Maundy money. George Ridding, the first Bishop of Southwell and paid for the grant of Arms now used as the diocesan coat of arms.
Its creation as a cathedral led to confusion concerning the civic status of Southwell. Traditionally it was considered to be a city because of the presence of the cathedral, but it has not been granted city status; the Friends of Cathedral Music was founded in 1956 by Ronald Sibthorpe prompted by a decision of the provost to abolish Saturday choral evensong so that lay clerks could watch football at Newark-on-Trent. The nave, central tower and two western towers of the Norman church which replaced the Saxon minster remain as an outstanding achievement of severe Romanesque design; the central tower's two ornamental stages place it high among England's surviving Norman towers. The nave is imposing, with cylindrical columns, large triforium arches and an unaltered clerestory with rows of round windows; the choir is Early English in style. In the 14th century the choir screen and the chapter house were added; the polygonal chapter house and its vestibule comprise a Decorated masterpiece with sculptured detail including heads and naturalistic foliage, the latter being
A musical ensemble known as a music group or musical group, is a group of people who perform instrumental or vocal music, with the ensemble known by a distinct name. Some music ensembles consist of instruments, such as the jazz quartet or the orchestra; some music ensembles consist of singers, such as choirs and doo wop groups. In both popular music and classical music, there are ensembles in which both instrumentalists and singers perform, such as the rock band or the Baroque chamber group for basso continuo and one or more singers. In classical music, trios or quartets either blend the sounds of musical instrument families or group together instruments from the same instrument family, such as string ensembles or wind ensembles; some ensembles blend the sounds of a variety of instrument families, such as the orchestra, which uses a string section, brass instruments and percussion instruments, or the concert band, which uses brass and percussion. In jazz ensembles or combos, the instruments include wind instruments, one or two chordal "comping" instruments, a bass instrument, a drummer or percussionist.
Jazz ensembles may be instrumental, or they may consist of a group of instruments accompanying one or more singers. In rock and pop ensembles called rock bands or pop bands, there are guitars and keyboards, one or more singers, a rhythm section made up of a bass guitar and drum kit. Music ensembles have a leader. In jazz bands and pop groups and similar ensembles, this is the band leader. In classical music, concert bands and choirs are led by a conductor. In orchestra, the concertmaster is the instrumentalist leader of the orchestra. In orchestras, the individual sections have leaders called the "principal" of the section. Conductors are used in jazz big bands and in some large rock or pop ensembles. In Western classical music, smaller ensembles are called chamber music ensembles; the terms duet, quartet, sextet, octet and dectet describe groups of two up to ten musicians, respectively. A group of eleven musicians, such as found in The Carnival of the Animals, is called either a hendectet or an undectet.
A soloist playing unaccompanied is not an ensemble. A string quartet consists of a viola and a cello. There is a vast body of music written for string quartets, as it is seen as an important genre in classical music. A woodwind quartet features a flute, an oboe, a clarinet and a bassoon. A brass quartet features a trombone and a tuba. A saxophone quartet consists of a soprano saxophone, an alto saxophone, a tenor saxophone, a baritone saxophone; the string quintet is a common type of group. It is similar to the string quartet, but with an additional viola, cello, or more the addition of a double bass. Terms such as "piano quintet" or "clarinet quintet" refer to a string quartet plus a fifth instrument. Mozart's Clarinet Quintet is a piece written for an ensemble consisting of two violins, a viola, a cello and a clarinet, the last being the exceptional addition to a "normal" string quartet; some other quintets in classical music are the wind quintet consisting of flute, clarinet and horn. Classical chamber ensembles of six, seven, or eight musicians are common.
In most cases, a larger classical group is referred to as an orchestra of some type or a concert band. A small orchestra with fifteen to thirty members is called a chamber orchestra. A sinfonietta denotes a somewhat smaller orchestra. Larger orchestras are called philharmonic orchestras. A pops orchestra is an orchestra that performs light classical music and orchestral arrangements and medleys of popular jazz, music theater, or pop music songs. A string orchestra has only string instruments, i.e. violins, violas and double basses. A symphony orchestra is an ensemble comprising at least thirty musicians. A symphony orchestra is divided into families of instruments. In the string family, there are sections of violins, violas and basses; the standard woodwind section consists of flutes, soprano clarinets, bassoons. The standard brass section consists of horns, trumpets and tuba; the percussion section includes the timpani, bass drum, snare drum, a
Electone is the trademark used for electronic organs produced by Yamaha. With the exception of the top end performance models, most Electones are based on the design on the spinet electronic organ. Current models are digital and contain a variety of sounds and accompaniments, on top of the ability to store programming data onto memory devices. After Hammond pioneered the electronic organ in the 1930s, other manufacturers began to market their own versions of the instrument. By the end of the 1950s, familiar brand names of home organs in addition to Hammond included Conn, Kimball and others, while companies such as Allen and Rodgers manufactured large electronic organs designed for church and other public settings; the Yamaha Electone series debuted in 1959 with a home instrument. By 1980, with the market waning and some manufacturers ceasing production, the Electone line embraced digital technology; this allowed Electone's survival as the traditional home. By the 1980s, many of the most famous names had ceased home production, but the Electone transitioned to the modern world of digital synthesizers, now competing with such new electronic products as Moog Music and Kurzweil.
Electones were to be found not only in homes in Japan and elsewhere in the East Asia, but in bands and other solo and group public performances. Yamaha began exporting Electones to the United States, starting with the D-2B in 1967. 1968 — EX-21 prototype Different from prior Electones, it was expressly designed for stage performances. 1970 — EX-42 This became Yamaha's first commercially available stage model Electone. It was the first to use integrated circuits, although it was still based on analogue technology. 1974 — Designing of Electones around synthesisers, instead of organs 1974 — CSY-1 Based on the SY-1 synthesizer. 1975 — GX-1 The first polyphonic synthesizer in Electone form, bridging the gap between synthesizer and organ. It used velocity-sensitive keyboards and the solo keyboard was after-touch sensitive; some notable users of the GX-1 include Richard D. James, Stevie Wonder, Keith Emerson, John Paul Jones of Led Zeppelin, Benny Andersson of ABBA. 1977 — E-70 One of the first home based organs to feature Yamaha's PASS in a console cabinet.
1983 to 1986 — FC/FE/FS/FX series Featured FM tone generators and the FX series featured the company's first digitally sampled sounds for the onboard percussion/rhythm units. The F series Electones were the first to allow users to digitally save registrations via pistons and save them to RAM packs or an external disk drive unit: MDR-1. 1987 — HS/HX series Electones became more digital here. It used more integrated circuit technology to make components smaller, hence allowed for a sleeker design; the HX/HS series was the first to use AWM "sampling" technology for both voices and rhythms, featured 16-operator FM voices. AWM Voice expansion is possible via sound packs. 1991 — EL series This series included an attached Music Disk Recorder which enabled players to record their registrations and performances, thus eliminating the need for extensive programming before each performance. The EL series introduced new synthesisers and expression technologies that made instrument voices on the Electone more realistic.
Voice technology continued to be based on FM technologies. 1996 — AR series The AR100, its junior model the AR80, were designed for the US and European market, reverted to the more traditional cabinet design. Using purely AWM voices, the most distinctive feature of the series is its 384 preset registrations. A huge increase compared to only 5 presets on the EL series. 1998 — EL900 Visually similar to the EL90 model from 1991, but with more voices and effects, the most significant change of this model is the inclusion of VA voices. These voices, or preset sounds, is instead based on modeling, thus providing a different level of authenticity. ABC Auto Bass Chord. Auto accompaniment function, in the form of backing chords and effects, activated when the lower keyboard is held while rhythms are playing. Advanced Wave Memory Yamaha's sound sampling technology introduced in the 90s; as of 2014, AWM has evolved to generation two and is termed AWM2 or AWMII. Frequency Modulation Yamaha's sound modeling technology used in Electones from the 70s to 90s.
The final model to feature FM technology is all its variants. Keyboard Percussion Drums and percussion sounds that can be assigned to both keyboards and the pedalboard. Used to create custom drum rhythms. Lead Voice The solo voice used for the melody line. Lead voices are monophonic on all Electone models. Lower Keyboard Voice General term referring to sounds assigned to the lower keyboard. Polyphonic by preset. Music Data Recorder Memory storage device installed to, or part of Electone models from the HS series onwards. Allows storage and quick call up of complex rhythm settings. Melody On Chord Harmonizing effect activated on the lower keyboard based on note played on the upper keyboard. Pedal Voice General term referring to sounds assigned to the pedalboard. Monophonic by preset except on the latest ELS-02 series. Registration Electone term referring to sounds selected for the pedal board. Includes rhythm pattern selected. Refers to user memory slots available on the Electone itself. Rhythm Drum patterns available on the Electone.
Comes with different accompaniments. Rhythm Sequence Program Seque
A choir is a musical ensemble of singers. Choral music, in turn, is the music written for such an ensemble to perform. Choirs may perform music from the classical music repertoire, which spans from the medieval era to the present, or popular music repertoire. Most choirs are led by a conductor, who leads the performances with face gestures. A body of singers who perform together as a group is called a chorus; the former term is often applied to groups affiliated with a church and the second to groups that perform in theatres or concert halls, but this distinction is far from rigid. Choirs may sing without instrumental accompaniment, with the accompaniment of a piano or pipe organ, with a small ensemble, or with a full orchestra of 70 to 100 musicians; the term "Choir" has the secondary definition of a subset of an ensemble. In typical 18th- to 21st-century oratorios and masses, chorus or choir is understood to imply more than one singer per part, in contrast to the quartet of soloists featured in these works.
Choirs are led by a conductor or choirmaster. Most choirs consist of four sections intended to sing in four part harmony, but there is no limit to the number of possible parts as long as there is a singer available to sing the part: Thomas Tallis wrote a 40-part motet entitled Spem in alium, for eight choirs of five parts each. Other than four, the most common number of parts are three, five and eight. Choirs can sing without instrumental accompaniment. Singing without accompaniment is called a cappella singing. Accompanying instruments vary from only one instrument to a full orchestra of 70 to 100 musicians. Many choirs perform in many locations such as a church, opera house, or school hall. In some cases choirs join up to become one "mass" choir. In this case they provide a series of songs or musical works to celebrate and provide entertainment to others. Conducting is the art of directing a musical performance, such as a choral concert, by way of visible gestures with the hands, arms and head.
The primary duties of the conductor or choirmaster are to unify performers, set the tempo, execute clear preparations and beats, to listen critically and shape the sound of the ensemble. The conductor or choral director stands on a raised platform and he or she may or may not use a baton. In the 2010s, most conductors do not play an instrument when conducting, although in earlier periods of classical music history, leading an ensemble while playing an instrument was common. In Baroque music from the 1600s to the 1750s, conductors performing in the 2010s may lead an ensemble while playing a harpsichord or the violin. Conducting while playing a piano may be done with musical theatre pit orchestras. Communication is non-verbal during a performance. However, in rehearsals, the conductor will give verbal instructions to the ensemble, since they also serve as an artistic director who crafts the ensemble's interpretation of the music. Conductors act as guides to the choirs they conduct, they choose the works to be performed and study their scores, to which they may make certain adjustments, work out their interpretation, relay their vision to the singers.
Choral conductors may have to conduct instrumental ensembles such as orchestras if the choir is singing a piece for choir and orchestra. They may attend to organizational matters, such as scheduling rehearsals, planning a concert season, hearing auditions, promoting their ensemble in the media. Eastern Orthodox churches, some American Protestant groups, traditional synagogues do not use instruments. In churches of the Western Rite the accompanying instrument is the organ, although in colonial America, the Moravian Church used groups of strings and winds. Many churches which use a contemporary worship format use a small amplified band to accompany the singing, Roman Catholic Churches may use, at their discretion, additional orchestral accompaniment. In addition to leading of singing in which the congregation participates, such as hymns and service music, some church choirs sing full liturgies, including propers. Chief among these are the Roman Catholic churches. Mixed choirs; this is the most common type consisting of soprano, alto and bass voices abbreviate
Franz Liszt was a Hungarian composer, virtuoso pianist, music teacher and organist of the Romantic era. He was a writer, a philanthropist, a Hungarian nationalist and a Franciscan tertiary. Liszt gained renown in Europe during the early nineteenth century for his prodigious virtuosic skill as a pianist, he was a friend, musical promoter and benefactor to many composers of his time, including Frédéric Chopin, Richard Wagner, Hector Berlioz, Robert Schumann, Camille Saint-Saëns, Edvard Grieg, Ole Bull, Joachim Raff, Mikhail Glinka, Alexander Borodin. A prolific composer, Liszt was one of the most prominent representatives of the New German School, he left behind an extensive and diverse body of work which influenced his forward-looking contemporaries and anticipated 20th-century ideas and trends. Among Liszt's musical contributions were the symphonic poem, developing thematic transformation as part of his experiments in musical form, radical innovations in harmony. Franz Liszt was born to Anna Liszt and Adam Liszt on 22 October 1811, in the village of Doborján in Sopron County, in the Kingdom of Hungary, Austrian Empire.
Liszt's father played the piano, violin and guitar. He had been in the service of Prince Nikolaus II Esterházy and knew Haydn and Beethoven personally. At age six, Franz began listening attentively to his father's piano playing. Adam began teaching him the piano at age seven, Franz began composing in an elementary manner when he was eight, he appeared in concerts at Sopron and Pressburg in October and November 1820 at age 9. After the concerts, a group of wealthy sponsors offered to finance Franz's musical education in Vienna. There Liszt received piano lessons from Carl Czerny, who in his own youth had been a student of Beethoven and Hummel, he received lessons in composition from Ferdinando Paer and Antonio Salieri, the music director of the Viennese court. Liszt's public debut in Vienna on December 1, 1822, at a concert at the "Landständischer Saal", was a great success, he was greeted in Austrian and Hungarian aristocratic circles and met Beethoven and Schubert. In spring 1823, when his one-year leave of absence came to an end, Adam Liszt asked Prince Esterházy in vain for two more years.
Adam Liszt therefore took his leave of the Prince's services. At the end of April 1823, the family returned to Hungary for the last time. At the end of May 1823, the family went to Vienna again. Towards the end of 1823 or early 1824, Liszt's first composition to be published, his Variation on a Waltz by Diabelli, appeared as Variation 24 in Part II of Vaterländischer Künstlerverein; this anthology, commissioned by Anton Diabelli, includes 50 variations on his waltz by 50 different composers, Part I being taken up by Beethoven's 33 variations on the same theme, which are now separately better known as his Diabelli Variations, Op. 120. Liszt's inclusion in the Diabelli project—he was described in it as "an 11 year old boy, born in Hungary"—was certainly at the instigation of Czerny, his teacher and a participant. Liszt was the only child composer in the anthology. After his father's death in 1827, Liszt moved to Paris, he gave up touring. To earn money, Liszt gave lessons in piano playing and composition from early morning until late at night.
His students were scattered across the city and he had to cover long distances. Because of this, he kept uncertain hours and took up smoking and drinking—all habits he would continue throughout his life; the following year, he fell in love with one of his pupils, Caroline de Saint-Cricq, the daughter of Charles X's minister of commerce, Pierre de Saint-Cricq. Her father, insisted that the affair be broken off. Liszt fell ill, to the extent that an obituary notice was printed in a Paris newspaper, he underwent a long period of religious doubts and pessimism, he again was dissuaded this time by his mother. He had many discussions with the Abbé de Lamennais, who acted as his spiritual father, with Chrétien Urhan, a German-born violinist who introduced him to the Saint-Simonists. Urhan wrote music, anti-classical and subjective, with titles such as Elle et moi, La Salvation angélique and Les Regrets, may have whetted the young Liszt's taste for musical romanticism. Important for Liszt was Urhan's earnest championship of Schubert, which may have stimulated his own lifelong devotion to that composer's music.
During this period, Liszt read to overcome his lack of a general education, he soon came into contact with many of the leading authors and artists of his day, including Victor Hugo, Alphonse de Lamartine and Heinrich Heine. He composed nothing in these years; the July Revolution of 1830 inspired him to sketch a Revolutionary Symphony based on the events of the "three glorious days," and he took a greater interest in events surrounding him. He met Hector Berlioz on December 1830, the day before the premiere of the Symphonie fantastique. Berlioz's music made a strong impression on Liszt later when he was writing for orchestra, he inherited from Berlioz the diabolic quality of many of his works. After attending a charity concert on 20 April 1832, for the victims of a Parisian cholera epidemic, organised by Niccolò Paganini, Liszt became determined to become as great a virtuoso on the piano as Paganini was on the violin. Paris in the 1830s had become the nexus
Frederik Reesen Magle is a Danish composer, concert organist, pianist. He writes contemporary classical music as well as other genres, his compositions include orchestral works, chamber music, solo works, including several compositions commissioned by the Danish Royal Family. Magle has gained a reputation as an organ virtuoso, as a composer and performing artist who does not refrain from venturing into more experimental projects – with improvisation – bordering jazz and other non-classical genres, his best-known works include his concerto for organ and orchestra The Infinite Second, his brass quintet piece Lys på din vej, composed for the christening of Prince Nikolai, The Hope for brass band and choir, his symphonic suite Cantabile, a collection of improvisations for organ titled Like a Flame. Frederik Magle was born in Stubbekøbing, the son of actress and writer Mimi Heinrich and organist and sculptor Christian Reesen Magle, he is the great-nephew of the composer Emil Reesen. Recognized early as a child prodigy, he appeared on television and in the news media at the age of 9.
Magle was educated as a private student of Leif Thybo, Ib Bindel. He was taught piano, score reading, music theory from the age of six. At the age of 16, he was admitted to the Royal Danish Academy of Music, where he was taught music theory by Yngve Jan Trede, but after one and a half years he decided to leave the music academy, explaining that he "could not both study at the conservatory and work independently as a composer at the same time." He stated that the decision "was difficult, there was a lot to think through," but that he did not regret it. He received the scholarship of countess Erna Hamilton in 1993. In 1994, as an organ soloist, he won the Danish qualification rounds and national final of the Eurovision Young Musicians competition, he was one of eight winners of the 24 national competitions that year to be selected for the European final, held at the Philharmonic Concert Hall in Warsaw, Poland on 14 June 1994. He performed Francis Poulenc's Organ Concerto, but was not placed in the top 3.
The Polish organizers planned the qualifying round to be held elsewhere, but moved it to the Philharmonic Hall to accommodate Magle's participation. Magle's father died in 1996, shortly before the first performance of Frederik Magle's Christmas cantata A newborn child, before eternity, God!, dedicated to him. Magle was awarded the Freemason's Arts Prize in 2001. In 2006 he took ownership of the classical music internet forum "Talk Classical", he has said that he gets his ideas in dreams and always have a notebook next to him when he sleeps, in case he gets an idea for a "musical phrase or an orchestral build-up" during the night. This method is found among great minds, is similar to the Slumber with the Key method; the first public performance of one of Frederik Magle's compositions took place on Easter morning 7 April 1985, in Stubbekøbing church, where a children's choir performed an Easter hymn he had composed. Two years in 1987, six of his hymns with texts by his mother Mimi Heinrich were performed by actress and singer Annie Birgit Garde at a concert in Lyngby church, the same year he played on television for the first time.
In 1988, two of his larger works, the cantata We are afraid, the "mini-musical" A Christmas Child, were premiered in Grundtvig's Church in Copenhagen before an audience of 2,000 people. He began a collaboration with the violinist Nikolaj Znaider in 1990, they performed a series of concerts together. Znaider gave the first performance of Magle's variations for violin and piano in the Concertgebouw, with the pianist Daniel Gortler: Journey in time describes a "kind of scenes or musical images" with the use of sharp dissonances, complicated rhythms and dramatic transitions and thematic formations. In 1993 Magle composed music for the experimental theatre performance Der Die Das by the theatrical group Hotel Pro Forma, directed by Kirsten Dehlholm, performed at the 4th international Dance Festival in Munich, Germany. Other artists involved were the architect Thomas Wiesner, sculptors Anders Krüger and Frans Jacobi, painter Tomas Lahoda, the costume designer Annette Meyer. Magle's concerto for organ and orchestra The Infinite Second was given its first performance and recorded in 1994 at the 3rd international music festival in Riga Cathedral, Latvia by the Latvian Philharmonic Chamber Orchestra, conducted by Dzintars Josts, with Frederik Magle himself as organ soloist.
The reviewer of Berlingske Tidende, Steen Chr. Steensen, described the organ concerto as "a long process from darkness to light" tonally "founded in the French school of organ music", it was released on CD in 1996 along with his second symphony for organ Let there be light, premiered in Riga Cathedral in 1993. The culture journalist Jakob Levinsen wrote of Magle's method of structuring the two works:...while his music appears quite conventional in terms of the traditional musical parameters, such as a preference for arch forms and a conservative use of free tonality in terms of melody and harmony, what could be labelled the dramatic characters of his music are definitely developed from the specific possibilities of the church organ itself. That goes for the occurring contrast between bright and dark timbres, between defined melodic lines and woven fields of sound, between huge