Praeludium     Geboren1960, Studien von Musiktheorie und Querflöte ab 1967 am Konservatorium Luxemburg, abgeschlossen mit zwei « Premiers Prix ». Der zufällige  Besuch  eines Konzerts des Pariser Meisterorganisten Jean Guillou 1977 machte ihn aufmerksam auf die wahren Möglichkeiten der konzertanten Pfeifenorgel, und er nimmt erste Unterrichtsstunden in Klavier und wenig später Orgel beim damaligen Kathedraltitularorganisten Me Albert Leblanc. Die spontane Begeisterung für das Instrument Orgel lies Jean Jacques Kasel die Idee eines Jura-Studiums endgültig verwerfen.
Profession     1983 publiziert er eine erste LP mit Werken von J.S. Bach, J.Guillou und L. Vierne, eine Live-Aufnahme eines Konzertes an der großen 4-manualigen Westenfelder-Orgel in Esch sur Alzette (L). 1987 erscheint dann die zweite LP ausschließlich Werken von Louis Vierne gewidmet, zum Anlass einer Komplettaufführung seines Orgelwerks in Luxemburg, initiiert von Jean Jacques Kasel. 1991 erhält er die Professuren für Orgel und Harmonisation,und leitet eine Analyseklasse für zwei Jahre, in Vertretung von Claude Lenners, der den” Prix de Rome“ vorbereitete. Konzerte mit dem „Orchestre des Professeurs du Conservatoire“, dem „Orchestre Philharmonique de Radio Luxembourg“ (jetzt OPL), sowie den “Solistes Européens” und Chören folgen. Vaclav Nowak (Duo Orgel-Geige), Isabelle Kayser und Carine Forget (Querflöte) sind unter Anderen seine Kammermusikpartner. Solo-Rezitale in Italien, Frankreich, Deutschland, der Schweiz, Belgien und Luxemburg sowie regelmäßige Einladungen an den „Festivals Internationaux d’Echternach“, Vicenza, Abano, Paris “Quartiers d’Eté”, Wiltz (L) beschäftigen ihn als konzertanten Spieler. 1995 wird auf Initiative von Jean Jacques Kasel und Jean-Claude Hoffmann das CD-Label “JCH-Productions Jean-Claude Hoffmann” gegründet und mehrere CD’s, zunächst den außergewöhnlichen Orgeln von Detlef Kleuker, entworfen von Jean Guillou (Brüssel, Zürich und Villedomer) gewidmet, erscheinen ab 1995. Die erste dieser Reihe istübrigens dem Instrument von Bridel (L) gewidmet, der letzten Orgel aus der Werkstatt Detlef Kleuker, erbaut 1990 nach Plänen von Jean Jacques Kasel. In Vorbereitung ist die erste von mehrerern CD’s der Serie “Organ Dramatics”, aufgenommen an der großen Tamburini/Bonato Orgel von Abano Terme (I). J.J.Kasel zeichnet selbst verantwortlich als Tonmeister der Orgelaufnahmen und anderer Produktionen des Labels JCH.
Projekte     Neben der pädagogischen Tätigkeit, den Aufnahmen und Rezitalen arbeitet Jean Jacques Kasel als unabhängiger Sachverständiger für modernen Orgelbau und Restaurierungen sowie an Entwürfen zeitgenössisch designter Privat-Orgeln wie “Godelet”(III,8), “The invisible One”(III,12). Die Restaurierungen von Rodange und Sandweiler tragen ebenso seine Handschrift. Jean Jacques Kasel wurde unter anderem als Experte bei der Planung der großen Orgel des Philharmonischen Konzertsaales eingeladen. Mehrere von ihm geleitete Workshops, Konferenzen und Masterclasses für junge fortgeschrittene Interpreten zu den Themen Registrierung, Werkanalyse, das Orgelwerk Louis Vierne’s und Sigfrid Karg-Elert’s haben vielversprechenden Nachwuchstalenten die Gelegenheit gegeben, ihren Horizont zu erweitern. Jean Jacques Kasel produziert seit fast 10 Jahren die Orgelsendung “Chamades” beim Kulturradio “100,7”.



Initial    Né en 1960, études de théorie musicale et flûte traversière au Conservatoire de Luxembourg dès l’âge de 7 ans, couronnées par deux Premiers Prix. Un récital de Jean Guillou lui faisait, en 1977, découvrir l’orgue et ses possibilités comme instrument de concert.
Initiation    En fin 1978, après le baccalauréat, il prit ses premiers cours de piano et peu après d’orgue auprès de Me Albert Leblanc à Luxembourg. Trois ans plus tard, il passe avec succès l’examen d’entrée au” Konservatorium und Musikhochschule “de Zürich, et est admis dans la classe de Janine Lehmann-Girod. Il travailla avec Johann Sonnleitner (Musique de Chambre), Bernhard Billeter (Pédagogie), Joseph Haselbach (Fugue), Erich Vollenwyder et Dr.Friedrich Jakob (Facture et Histoire de l’Orgue), et suivit 13 branches en parallèle. Le Diplôme d’Exécution et Pédagogique lui fut remis en juin 1985. Parallèlement aux études à Zurich, Jean Jacques Kasel suivit dès 1980 les Master-Classes de Jean Guillou à Paris, Alpe-d’Huez, Rotterdam et Zurich.
Intentions    En 1983 sort le premier disque 33- tours avec des oeuvres de Bach, Guillou et Vierne, enregistré en concert au 4-claviers Westenfelder de St.Joseph d’Esch s.Alzette. L’année 1987 verra se produire le second disque dédié en exclusivité aux oeuvres de Louis Vierne. Juste rentré de ses études de Zurich, on proposa au jeune diplômé un poste de Chargé de cours d’orgue au Conservatoire de Luxembourg en 1985. Il y fut nommé professeur d’orgue et d’harmonisation/improvisation à l’orgue en 1991. Des premiers engagements comme soliste avec orchestre furent lancés dès 1986, dont les “Solistes Européens Luxembourg”, l’ Orchestre des Professeurs du Conservatoire et l’Orchestre Philharmonique de Radio Luxembourg (maintenant OPL). Jean Jacques Kasel travailla avec différents chœurs et les solistes, dont Vaclav Nowak (duo orgue-violon), Isabelle Kayser et Carine Forget (duo orgue -flûte traversière) et s’est profilé en récital solistique au Luxembourg, en France, l’Italie, la Hollande, la Suisse et en Belgique. Il prèta son concours en tant que soliste aux Festivals Internationaux d’Echternach, Bridel, Vicenza, Abano, St. Gallen, Paris “Quartier d’Eté”, Uster (Suisse), Wiltz (Luxembourg) et d’autres. Pendant deux ans, Jean Jacques Kasel tenait le Cours d’Analyse Musicale au Conservatoire de Luxembourg en suppléant Claude Lenners, préparant son Prix de Rome.
Idées    En 1995, sur initiative de Jean Jacques Kasel, fut créée la maison d’édition discographique JCH- Productions Jean Claude Hoffmann, et une série de CD’s consacrés aux instruments exceptionnels de la maison Kleuker, construits d’après les plans de Me Jean Guillou, fut éditée. Un des CD’s parus est notamment consacré à l’orgue de Bridel (Luxembourg), construit en 1990 d’après les plans de Jean Jacques Kasel par la firme Kleuker en tant que opus ultimo de cette manufacture. A côté du travail pédagogique, des enregistrements et récitals, Jean Jacques Kasel travaille comme consultant en facture d’orgue contemporaine et restaurations. Plusieurs instruments nouveaux et autres restaurations ont été achevés d’après ses plans, dont à signaler des instruments d’hôtel particulier importants, dont en 2004 « The Invisible One », proposant une facture des plus avantgardistes en matériaux, design et layout de console, ainsi que par sa composition exceptionnelle. Une série de Cours de Perfectionnement que Jean Jacques Kasel proposa à de jeunes étudiants s’orientaient plus particulièrement sur les questions d’interprétation de la Musique de Bach , de Louis Vierne, l’Art de la Régistration et l’Analyse. Jean Jacques Kasel est producteur de l’émission d’orgue mensuelle “Chamades” à la “Radio Socio Culturelle 100,7”.



Dates    Born in 1960, he studied Music Theory and traverso at the Conservatoire in Luxembourg from the age of seven, studies that had been successfully achieved with two Premiers Prix. A fascinating recital given 1977 by famous virtuoso Jean Guillou made him discover the challenging and deeply expressive potential of the Organ as a concert instrument.
Diplomas    In 1978, after achieving his High School Diplomas, Jean Jacques Kasel took first lessons in piano and some monthes later already in organ, Me Albert Leblanc, titulaire at Luxembourg Cathedral.Three years later, he was accepted as a regular pupil at ” Konservatorium und Musikhochschule“ in Zurich, joining the class of Professeur Janine Lehmann-Girod. He worked amongst others, with Johann Sonnleitner (Chamber Music), Bernhard Billeter (Pedagogy), Klaus Knall (choir direction), Joseph Haselbach(Fugue), Erich Vollenwyder and Dr.Friedrich Jakob (organ building and History of the instrument and its repertoire), alltogether getting through 13 branches, each crowned with a diploma. The final diploma in Organ- Performing and Pedagogy was handed out in June 1985. In parallel to his studies in Zurich, Jean Jacques Kasel was attending since 1980 the Master-Classes of Maître Jean Guillou, held in Paris, l’Alpe-d’Huez, Rotterdam and Zurich.
Dedication    Two monthes after coming back fromthe Zurich studies in May 1985, Jean Jacques Kasel was asked to take over several organ pupils at the Conservatoire of Luxembourg, and was named Chargé de Cours d’Orgue et d’harmonisation/ improvisation à l’orgue in September 1985. A vacancy of the organ head of department-chair made him be nominated as professor in 1991. His actual organ class is composed by 25 students of 8 nations, and Jean Jacques Kasel is since 1994 preparing international students of the highest level to the «Diplôme Interrégional de Concert», a diploma created and inaugurated by 17 conservatories of France, Germany and Luxembourg.
Double career    Since 1986, Jean Jacques Kasel is performing in and outside Luxembourg as a solo-recitalist, together with orchestras such as “Les Solistes Européens Luxembourg”, the «Orchestre des Professeurs du Conservatoire» as well as the «Orchestre de Radio Luxembourg» (now OPL). He performed with famous choirs and instrumental solists, among them Vaclav Nowak (duo organ-violin), Isabelle Kayser and Carine Forget (duo organ –flauto traverso) and had numerous solo-appearances throughout Luxembourg, France, Italy, Switzerland, Holland and Belgium. Jean Jacques Kasel is currently invited to the most important Organ Festivals (Echternach, Bridel, Vicenza, Abano, Paris “Quartier d’Eté”, Uster , Zug, St.Gallen (Switzerland), Wiltz (Luxembourg) and others. Press and Media reveal his outstanding abilities of colorist and stylistically unsubdued registration, analytic but also very personal approach, widespread repertoire as well as substantial virtuosity and technical skill. As a professor for Musical Analyses, Jean Jacques Kasel replaced for two years Prof. Claude Lenners at his chair in the Conservatoire, himself preparing his «&Prix de Rome».
Discography    1983 was launched a first LP with works of Bach, Guillou and Vierne, a live-performance in concert at the 4 manuals Westenfelder-organ of St.Joseph in Esch s.Alzette (Luxembourg). In 1987, a second LP came out, dedicated exclusively to Louis Vierne. In 1995, on initiative of Jean Jacques Kasel, was created the audiophile label «&JCH- Productions Jean Claude Hoffmann» and a series of CD’s featuring the 3 most known Guillou-designed instruments by famous Kleuker organbuilding–manufactory, located in Bruxelles, Zurich and Villedomer as well as the J.J. Kasel designed last Kleuker in Bridel (L). Recently was inaugurated another series of CD-productions, first is Volume 1 of «Organ Dramatics», recorded by Jean Jacques Kasel on the large Tamburini-Bonato organ of Abano Terme in Italy. Completing his activities as a recitalist, teacher, radio-broadcast producer, Jean Jacques Kasel is very active as an independant organbuilding expert. Several new instruments and also important restaurations of selective instruments have been executed after his plans, recently the exciting project of «&The Invisible One», a large home-organ with avantgardistic design concerning console, keyboard-layout and stoplist (to be achieved fall 2004 in Luxembourg). Several Masterclasses and lectures about performing, the Bach and Vierne repertoire, the Art of Registration and organ-specific work-analyses brought his ideas to young advanced organists and recitalists. Jean Jacques Kasel is producing since almost ten years the famous “Chamades” organ-magazine at “Radio 100,7”.

BASCHARAGE
BRIDEL
SANDWEILER
PRIVATE ORGAN «GODELET»
THE INVISIBLE ONE
SEPTFONTAINES
PHILHARMONIE - Salle de Concerts
PRIVATE ORGAN «J.P.»
ARQUA PETRARCA
SAN DONÀ DI PIAVE
LE POULIGUEN
CONSERVATOIRE SALLE E01
PADOVA TORRESINO

Organ Class at Luxembourg Conservatoire de Musique


As a Chargé de Cours d’Orgue from 1985 to 1990, and furtheron, since 1990, as an entitled Professeur d’orgue et d’harmonisation/improvisation, I was always concerned and highly attracted to transmit one topic above all: giving to young or grown up organists, futur professionals or just high level amateur musicians as well as Master Class students the same fascination to this instrument as I have been given by my, I would say, «incidental/ accidental» prélude to the subject in 1977, discovering by Jean Guillou’s recital how an organ could sound through really both emotional and also intellectual guidance. Since my beginnings at the then just newly built and inaugurated Conservatoire de Musique de Danse et de Théatre in Luxembourg City, there must have been some 70 pupils of all levels inscribing to my two classes.The intelligent infrastructure of this Conservatory makes it possible to profit the advice of one teacher from the first to the very last class of a complete pedagogic concept, from beginners to Music Highschool- and Concertist level: the absolute ideal case to perform an efficient, and at the same time, logically build- up to any career, any sophisticated level of musician that the candidats asks me to bring them to. The III/53 Westenfelder organ at the Grand Auditorium (680 seats) as well as two other smaller pipe organs by Westenfelder and Heissler provide instrumental, acoustical and infrastructural means that can only be described as luxurious to any student. The studies-track includes several different levels from 1er cycle, where pianists and even non-pianists are accepted, over 2nd and 1st Mention, whereafter the pre-professional level is chosen or, following the ambitions or skills, a non-professional line, both ending with final diplomas of high level: Premier Prix or 1er Accessit. Getting into the even higher Prix Supérieur section is then the step to a rather professional orientation, that combines essentially concert repertoire work as well as already theoretical and practical pedagogic studies. Above this final diploma of the Conservatoire is the Diplôme de Concert Interrégional, organized in joint-venture by the most important conservatories of France and Germany together with the Conservatoire de Luxembourg. Two years of studies crowned with a concert performer diploma.
 As a player extremely convinced that neither basic scholastics, nor preconcepts of any kind or pure subjectivity are valuable approaches to musical performance both for the musician as for the audience, my teaching concept tries to go the very same way that I was tought: taking out all advantages of a student by waking up his natural technical skills as well as his intrinseque values of creativity, intelligence, analytic approach and tastefully guided subjective sensibility, to not forget also general music culture; this seems to me to be the one and only way to achieve personal, logic and intelligent performances of any kind of répertoire. Perfect knowledge of the past’s important evolutions, but also self induced research, highly sensitive discoveries of every organ to be played, every acoustics to be concerned with, but also the intense introspection of what moves forward or irritates the creative process: all this seems to me a nearly guaranteed progress to very high levels. There shouldn’t be any difference between a young beginner or a himself requestionning ancient performer, a professional student or an organ lover with just enthousiasm to touch the basic, but good style scores. All of them can and should have the same attitude to succeed, through different paths and channels, and similar has to be the teacher’s approach. My both fascinating and thrilling task is to guide rather than drill, incent rather than bend to, and vitalize rather than inhibit. Fascination organ, a truely never ending story to me and my class.