As part of the Göteborg International Organ Academy 2012, Hans Davidsson participated as guest artist in residence. Prof. Hans Davidsson led a series of masterclasses, workshops and concerts exploring the north German Chorale Fatasia and Georg Böhm's organ works using the University organ in Örgryte nya kyrkan as a tool to explore this repertoire in its original quarter-comma meantone temperament, an experiment that still can be done in very rare cases, an nowhere else in the world in the original scale of the monumental north european hanseatic city organs. The concert Davidsson designed and performed for the Academy was a multidisciplinary art work that was meant to showcase one of the important themes for the Academy, the organ works of Georg Böhm. Böhm's music comes from the high baroque period of composing that is often referred to as musica poetica, in which the composer intends to compose a piece of music on a text in order to allow a singer to declaim the text as if she or he is making a rhetorical speech. From the moment the first soloist steps out of the chorus and becomes an individual character in Monteverdi's Orfeo, the musica poetica of the seconda prattica is born. Musicians begin to represent individual characters in music who try, with text artfully coupled to expressive composition, to literally move the affections of the listeners. the role of musica poetica is well known in organ compositions connected to chorale texts (the other major theme of this year's Organ Academy) but is yet to be fully explored in the music without text that modern musicians and scholars have perhaps wrongfully thought of as "abstract music" in its modern sens. Perhaps there are inventios, stories, if you will, behind these pieces that look like abstract music to the untrained eye. Perhaps the compositional process and the choice of rhetorical figure and affect were more often steered by a text, or an inventio, even when a choral melody was not present. Hans Davidsson is one of the leading performers in our field actively exploring what happens in performance when this so-called abstract musical repertoire ceases to be abstract for the performer when coupled to a text-based story. In order to make this particular experiment as concrete as possible for an audience, the abstract pieces of Georg Böhm (1661-1733) were arranged according to the historical inventio of the four seasons and connected to contemporary examples of poetry: a cycle of four poems on the four seasons by William Blake (1757-1828). The poems were read before each section, and the dances conceived and performed to the music allowed modern dancers to physically embody and thus communicate to the audience their own artistic understanding of the underlying affekts and specific musical rhetorical figures and dance forms in Böhm's keyboard music. A parallel experiment within the concert used music by Arvo Pärt (1935- ) as well as improvisations by Hans Davidsson. The poems based on the seasons for the contemporary presentation of each season were written by the contemporary west-coast American poet Henry Carlile and also served as catalysts for improvisations at the organ as well as the accopmanying dance improvisations. Hans Davidsson, organ, Stayce Camparo, Jonathan and Gabriel Davidsson, dancers. Joel Speerstra, reader. Joakim Brink, lighting design. For more information about the performers, see the attached pdf of the complete program of the Götebog Internaional Organ Academy 13-15 September, 2012.