• a musical conception determined by a highly developed sense of structure
• transparency of line
• imaginative and colourful registration
• a firm pulse and sense of movement within the music

These, together with a select repertoire which extends from the English Renaissance to the present day, characterise an artist of vision and commitment. He believes that despite its keyboards, the organ is essentially a wind instrument, and that the best organ music of any period is to some extent vocally inspired.

He seeks always to create each work anew, without relying on any assumed performing tradition, believing that the only constant is change.

Michael Austin’s performance philosophy has always been that the ultimate ideal is a complete union of music, instrument and performer. Thus, paradoxically, it can become possible to hear the silence that lies behind and beyond the music that is played – a philosophy engendered by London’s wonderfully rich music life, which gave him, from his earliest student days, the opportunity of hearing the world’s greatest orchestras, conductors and soloists.

Michael Austin was born in the north of England in 1941. He studied organ with Douglas Hawkridge at the Royal Academy of Music in London, and later privately with Arnold Richardson and the Swiss organist Lionel Rogg. After a period as organist of Wimborne Minster he returned to the Academy to teach organ and theoretical disciplines, and to extend his concert and recording career.

His move to Denmark in 1977 was prompted by an increasing awareness of a need for organs with good mechanical action to enable him to realise his musical intentions. Since 1979 Michael Austin has made his home in Aalborg where he is organist of Skt. Markus Kirke, and where his own series of ten organ recitals – Orgelcyklus – has been an annual event in the calendar of the city’s music life for many years. He became a Danish citizen in 1983.

Michael Austin has broadcast on several European radio and TV networks. His performance of Hindemith’s Organ Concerto with the Berlin Radio Symphony Orchestra was broadcast to several European countries including Denmark, and he has recorded several programmes of English organ music for Danish Radio. His concert career has taken him to almost every east and west European country, Russia and Australia.

Reviews

Bach playing of great concentration and deep spirituality.

Bremen Nachrichten, Germany
 

Of his Karg-Elert recording Felix Apprahamian wrote: "It is time to hail Mr Austin with old Reinken’s words to Bach: ‘I thought this art was dead, but I see it lives on in you’".

The Gramophone, England
 

The highpoint of the International Organ Week: a phenomenal interpretation of Bach’s Art of Fugue. Organ playing of rare perfection and overwhelming power.

Iserlohner Kreisanzeiger, Germany
 

In his Royal Festival Hall recital, Michael Austin played a varied programme with understanding, rhythmic verve and vitality. As a demonstration of organ management his playing was a tour de force.

Musical Times, England
 

Julius Reubke’s ‘Sonata on the 94th Psalm’ was the highpoint of the recital. By both the skilful use of the swell and by exploiting every possibility of colour, Michael Austin built a wonderful increase of tension through the three movements, culminating in the grandiose, romantic fugue. He made the audience a true gift of this splendid work.

Dr. Herbert Zimpel, Köthen, Germany
 

Hindemiths Sonata No I was played with reflective registration and systematic tonal organisation beautifully interspersed with flamboyant virtuosity.

Mary Tannock, Perth, Australia
 

Michael Austin plays Bach so magnificently that it is almost beyond description. There is transparency of line and a logical structural presentation that even old Bach himself would have enjoyed.

Jacob Levinsen, Weekendavisen, Denmark

DEUTSCH

Bach-Interpretationen von großer Konzentration und tiefer Spiritualität.

BREMEN NACHRICHTEN, DEUTSCHLAND
 

Zu seinen Karg-Elert Aufnahmen schrieb der englische Musikkritiker, Felix Aprahamian: "Es ist an der Zeit, Michael Austin mit den Worten Reinkens an Bach zu huldigen: Ich dachte, diese Kunst wäre tot, aber ich sehe, daß sie in Ihnen weiterlebt."

THE GRAMOPHONE
 

Der Höhepunkt der internationalen Orgelwoche. Eine phänomenale Interpretation von Bachs Die Kunst der Fuge. Ein Orgelspiel von seltener Perfektion und überwältigender Stärke.

ISERLOHNER KREISANZEIGEN, DEUTSCHLAND
 

In seiner Interpretation des Kaleidoskop von Karg-Elert vereinte sich großes Einfühlungsvermögen mit rhythmischer Stärke und Vitalität. Als Demonstration des Orgelspiels stellten seine Interpretationen eine Tour de force dar.

MUSICAL TIMES, LONDON
 

Den Höhepunkt des Abends bildete die hinreissend interpretierte Sonate über Psalm 94 von Julius Reubke. Durch geschickte Ausnutzung der Schwell- und Schattierungsmöglichkeiten führte Austin in faszinierender Steigerung das sich durch alle drei Sätze hindurchziehende Thema zur grandiosen romantischen Schlussfuge. Mit diesem gewaltigen Werk machte Michael Austin dem Publikum ein wahres Geschenk.

Dr. HERBERTt ZIMPEL, KÔTHEN
 

Hindemiths Sonate Nr. 1 wurde mit reflektiver Auffassung und systematisch tonaler Organisation gespielt und schön mit flamboyanter Virtuosität eingeschlossen.

MARY TANNOCK, PERTH, AUSTRALIEN
 

Michael Austins Spiel ist von so unvergleichlicher Schönheit, daß es kaum zu beschreiben ist. Es ist von einer solchen Transparenz und logischen Struktur getragen, daß der alte Meister selbst sein Wohlgefallen daran gehabt hätte.

JACOB LEVINSEN, WEEKENDAVISEN, DÄNEMARK

Contact details and further information

E-mail Michael Austin

For further details, see Michael Austin