Can you describe your early musical education and how it shaped your approach to playing the organ?

I was very fortunate in that most of my music education was rooted in choral music. I’ve been singing in choirs since I can remember and have always been surrounded by music teachers who identified that I was inclined towards music. Learning the piano was a necessity at the start as you are not physically tall enough to reach everything on the organ. I appreciate the piano more and more as I get older, and it's the instrument I do a lot of my preparation work on.

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Do you have any fun facts to share about the organ?

Yes, plenty! There are so many different types of organs, when you try to match them up you wouldn’t believe they're the same instrument. The organ is usually custom built to suit the space and context in which it will live. That’s why there are church organs, theatre organs, civic organs, school organs, jazz organs, opera organs, home organs and so on. Then there are different nationalities of all these different organs, and yes, they do have accents just like people. The organ has the largest pitch range and dynamic range of any singular, physical music instrument. It is a fascinating musical instrument and is very much underestimated.

 

Are there any specific organ playing techniques that are important for achieving a desired sound?

This is an interesting question. It really depends on the instrument and the building. If the space has a vibrant acoustic, it’s somewhat easier as the less you do the more the music shines. In a drier space you have to work harder to get the desired musical effects. You also have more control to do so in a dryer space, so it’s a bit of a double edge sword. Your articulation may change depending on the acoustics as well, so it really depends on the space as well as the instrument.

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How do you prepare mentally and physically for a concert, especially when playing on an unfamiliar organ?

Less is more. I find if you overthink things, you get yourself worked up unnecessarily. I come in with a plan to get to know the instrument, set the registrations or the stops of the organ through selected combinations. Finally, playing the instrument as much as possible before the performance to get comfortable where everything is and work out how I can stay as calm as possible. Physically, I will definitely do as much walking as possible, go to the gym if that’s an available option, and even swim (as long as it's not too cold). Knowing how and when to detach yourself mentally and physically in preparing for a concert is just as important as the engagement as it gives you something which is very valuable - perspective. 

 

Do you have any specific rituals or practices when approaching an unfamiliar organ before a performance?

It’s important to listen to the instrument and the instrument in relation to the room. This can be tricky depending on where the organ console is and how much time you’ve been given to prepare on the instrument. Getting to know all the sounds and how you can manipulate them effectively is the next challenge. Everything is time dependent so I will usually choose my battles wisely.

 

Have you had any humorous or unpredictable moments whilst performing in a concert?

Yes, too many to list here. They all usually involve a fault with an instrument, which has always been taken in good humour by both audience and organist. 

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How has the organ playing landscape changed over the course of your career and what trends do you see emerging?

Social media has impacted every industry, but it has a profound impact on music. I think that has been the biggest trend I’ve seen emerging. Once upon a time the dream was to travel and give concerts, now it’s getting a large following on your social media platforms without even leaving your living room! Simply wild. I do think no amount of technology will ever replace a real-life experience with live performance. It will always be on another level.

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Who are your favourite composers for organ and why?

Gosh, this is like choosing your favourite child. I love many different composers for many different reasons. The beauty of music making is the ability to communicate a message to the audience, whether it is obvious or not. As a result, each concert or music making experience is wildly different from one another, even if you’re playing the same program (hence my comment above about the lack of ability digital music has to replace the real deal). I do love the music of J. S. Bach, as both player and listener. I’m always fascinated by the music of Louis Vierne, and how much colour he gets out of the organ. Florence Price’s music combines a romantic language with bold gospel tones, making for a unique and soul inspiring experience. Daniel Ficarri, a New York-based organist and composer, is composing music that is both thrilling to play and listen to as an audience member. His wide variety in style invokes American composers of old straddling between the European tradition and a new American, however he is fresh, full of life and unrestrained. Pure joy. I could go on but we’ll be here for a while as I just love music!   

 

How did you select the repertoire for the BAMF Concert #2 program?

It can be difficult selecting repertoire on an organ you’ve never seen or heard. Even more so when you’ve been told it has recently had work done and is now larger! I’ve selected a program which pays homage to the great J. S. Bach in this his 340th year since his birth. I’ve included some transcriptions, both established and ones I have made, which seek to broaden the perspective of the organ and the instrument. It’s all music I enjoy and love playing so I hope to pass that onto my audience.

 

For further info about Alessandro Pittorino go to: https://www.aussieorganist.com/

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Interview conducted by Catherine Barnett (BAMF Committee) March 2025

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