Meet the Artist: Jonathan Moyer

Organist Jonathan Moyer returns to the Presenting Series with a program that offers a rare and intimate journey into the life and music of Jan Pieterszoon Sweelinck. Widely regarded as one of the most important figures linking the Renaissance and Baroque eras, Sweelinck left an enduring influence on generations of organists through his innovative keyboard and vocal works. 

In this recital, Moyer curates selections that reflect the composer’s artistic evolution while inviting audiences to connect with the humanity at the heart of his music. Read on to discover Moyer’s inspirations, his approach to programming, and what audiences can expect from this special performance.

What inspired you to build an entire program around the life and music of Jan Pieterszoon Sweelinck?

I have always been fascinated by the great “Orpheus of Amsterdam,” as he was called. He never left the Netherlands, yet he rose to such prominence in the world of keyboard and vocal music despite great religious and political turmoil in the region. His beautiful music stands out as an important bridge between the Renaissance and the Baroque eras, and his influence can be traced in generations of organists that followed him. On a more personal level, I somehow feel a very real and expressive humanity in his music that speaks to us today. 

Sweelinck’s music spans a remarkable range of moods and styles. How did you go about selecting the works for this recital?

I wanted to select works that represent different periods of his life and his growth as a musician. I begin with pieces that represent his Catholic heritage before the Reformation came to Amsterdam. These are chant-based pieces. Then on to various works that cover his rise as a virtuoso, his response to the Calvinist reformation, his role as a teacher and performer, and then finally a work that recognizes the tenuous times during which he lived. Ultimately, I believe we can appreciate his music more if we can see it as a part of a larger human narrative. 

For audiences less familiar with Sweelinck, what should they listen for in his music?

When experiencing any beautiful and complex work of art, just begin with what you hear. Like a painting in a museum, “look” for things that strike you as interesting or familiar. Then listen for the elements that are new and unusual. These will be highlighted by the registrational colors that I select on the organ. For those who are lovers of Renaissance choral music, you will often hear imitative counterpoint that sounds very vocal. Then suddenly musical figuration will start that is more oriented to the keyboard. The striking contrast between these two elements defines much of Sweelinck’s style of composing. Many pieces are based on an original melody coming from either sacred or secular sources—Gregorian chant, Genevan psalms, chorales, or folk songs. This will often provide a central element that you can recognize throughout the work.

This is your first appearance on the Presenting Series since 2016—what excites you most about returning to DPAC?

I love so much about the campus, its students, teachers, and instruments. I am particularly enthralled by the wonderful Fritts organ in the DeBartolo Performing Arts Center. It magically brings to life many sounds and textures we experience in the old organs of Germany and the Netherlands. I also greatly look forward to working with the students in the masterclass.

The organ is one of music’s most powerful and expressive instruments. What do you love most about its ability to convey emotion and atmosphere?

I love the experience of encountering the personality of an organ. Each instrument is unique and offers us a palette of sound that can only be experienced in that place. When I first rehearse with an organ, I usually play through every stop alone to hear its unique properties. It is like introducing myself to each person within an orchestra. Once I get to know them, then the instrument begins to reveal to me its interpretation of the pieces I want to play. It truly becomes a partnership in music-making.

You’ve performed widely across styles and centuries. What sets this program apart from others you’ve done?

I love playing eclectic programs, but this program offers us a unique opportunity to get inside the mind and spirit of a composer. To experience their life through the music they composed. It is like an art exhibit for a single artist in which we pour ourselves into the time and context that produced this remarkable art.

What do you hope the audience will take away from this afternoon of Sweelinck—whether they’re seasoned listeners or completely new to early music?

I hope they will have an aesthetically pleasing experience, but above all, I hope they can connect in some way to the humanity behind this special music and realize that it is not that far from us today.

If someone is attending their very first organ recital, what might surprise or move them most during this performance?

The wondrous and diverse sound of the organ is still what attracted me to it long ago, and I hope it will be the same for everyone who attends.

Through this performance, Moyer invites listeners to experience the organ not only as an instrument of grandeur but also as a deeply personal partner in musical storytelling. Whether encountering Sweelinck’s music for the first time or returning as seasoned admirers, audiences will be drawn into music that feels both timeless and strikingly relevant today. The Fritts organ at DPAC serves as Moyer’s collaborator in bringing this vision to life, promising an afternoon where history, humanity, and artistry converge.