An organist from paris once calculated that during an average organ concert, at least 50,000 keystrokes are made by the organist. This is a complex sequence of movements that requires the precise coordination of the ten fingers and the two fubes.
This high art of organ playing was demonstrated anew on sunday evening by hochstadt artist gabriel konjaev. In the traditional concert for the old town festival, he once again filled the stadtpfarrkirche st. Georg, at whose organ he feels at home liturgically, at church services, or in concerts. Konjaev has been giving these concerts for 16 years and thus contributes to the cultural side of the hochstadt old town festival.
Works of the master of all masters
This year's program surpassed all expectations, not only for music lovers expectations. Konjaev has designed his concerts as a synthesis of the epochs for several years now. The first part of his performance was dedicated to the "master of all masters" at the organ: johann sebastian bach. With three in tempo and rhythmic very demanding works of the rough baroque composer konjaev showed his skills on. He was not afraid to start with the rough C major praludium and the corresponding fugue. Bach had enjoyed it just as much as the other two pieces from his compositional pen.
Beside the chorale "our father in the kingdom of heaven" the 11 (!) variations to the chorale "sei gegrubet, jesu gutig" (be well, jesus good) for reflection. And konjaev expressed that he himself has intensively reflected and internalized these variations.
In the second part of the concert konjaev devoted himself to romantic organ literature. Hardly any of the rough organists dare to play the B-A-C-H praludium including fugue by franz liszt in a public performance. Konjaev gave it his best in the truest sense of the word. In addition, he wrestled all its possibilities from the well parrying sage organ in the city parish church and demanded all sound possibilities and tone facets especially at this point of the program. Although konjaev endeared himself to his audience with two sympathetic works by thomas salome, a rather unknown composer of the 19th century, he was not able to play them. Take a deep breath at the beginning of the 21st century. Then, however, for the finale, the carillon de westminster by louis vierne. The famous carillon of the english parliament building becomes the basis for a spectacular sound experience.