as performer and composer. He excels in a wide range of styles, from early to contemporary music, always looking to infuse his playing with historically informed practices. No other organist in the last decade has played as many contemporary work premieres as Ericsson; he has worked closely with John Cage, György Ligeti and Olivier Messiaen to better understand their artistic visions. As a post-avant-garde composer, Hans-Ola Ericsson blends existing sound material with the unheard in his works. This technique can be observed in Ericsson’s organ mass, relating the sounds of Arp Schnitger organs. He was referred to as the prototypical organist of the 21st century, his music displaying a versatility focused on every sound and on its compositional context." In 1989, Hans-Ola Ericsson was appointed professor at the Academy of Music in Piteå and at the University of Luleå. In 1996, he was appointed visiting professor at the University of the Arts Bremen and in 2011, professor of organ at the Schulich School of Music at McGill University in Montreal, Canada. Today, he is in high demand as a concert organist, a composer, a teacher and a consultant for organ restoration work. He has worked namely to restore an organ dating back to the 17th century sitting in the German Church in Stockholm. His interpretations are well documented on numerous recordings, including the recording of Olivier Messiaen’s complete organ works. Compositional style Ericsson's earlier works were closer in style to those of Klaus Huber or Luigi Nono, but this compositional approach became restrictive, and Ericsson went through a period of compositional silence in between 1984/85 and 1999. Ericsson's more recent music draws more freely from various styles, and concentrates, to a certain extent, on musical timbre and space, as well as referential ideas in music. For example, his work "The Four Beast' Amen", for organ and electronics, begins with the organ in dialogue with recordings of organs from Hamburg, Stade, Norden, Cappel and Lüdingworth. The style refers to older organ works, such as those of Frescobaldi or Buxtehude, but with all of the organs overlapping in such a way that everything is blurry. The second movement changes completely in style, concentrating on sounds created by the wind chest of the organ. Some of the later movements of this work focus on differences in tuning between some of the organs that we heard in the beginning. Works Musik för en sjuk