As of: February 21, 2024, 8:00 a.m
By: Veronika Vogel
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An expert in her field: Regina Doll-Veihelmann thrilled people with her organ concert in the Klettham Church of the Redeemer, with her son Johannes at her side, who assisted in turning the pages.
© Vroni Vogel
The visitors to the Klettham Church of the Redeemer were enthusiastic.
They acknowledged Regina Doll-Veihelmann's multifaceted organ concerto with a standing ovation.
Klettham – Energetic, exciting and played with virtuosity: Regina Doll-Veihelmann's very well-attended organ concert in the Klettham Church of the Redeemer resulted in a standing ovation at the end.
The audience gave the organist enthusiastic final applause in the gallery.
The donations from the proceeds from the free admission concert will benefit church music.
It began with the well-known Fantasy in G major by Johann Sebastian Bach, designed with masterful polyphony.
The sixth sonata in D minor by Félix Mendelssohn-Bartholdy on the Luther song “Our Father in the Kingdom of Heaven” explored the possibilities of the organ in its dynamic versatility and took you into the opulent sonority of romantic music.
The organist played this complex work with inspiring transparency.
Luther's chorale was heard as a variation and fugal theme.
He was also included in the eventful finale.
Henri Mulet titled his composition “Rosace”.
The title refers to the famous rose window of his home church Sacre Coeur du Montmatre in Paris.
The image of the multicolored intertwined rose window with its ten segments is reminiscent of a mandala, an image that corresponded to the music: meditative, rising and descending in waves, forming an infinite circle, based on different rhythmic levels.
A great listening experience was Doll-Veihelmann's own composition, which referred to the church hymn “We believe God in the highest throne”.
It impressed with its straightforward liveliness, leading into light sound spaces with surprising harmonic twists.
One of the most performed organ composers of the 20th century is Maurice Duruflé.
With his three-part suite opus 5, the musician made a powerful final point.
It was exciting to experience how, after the Prelude in the Sicilienne, the initially clear rhythm gradually dissolved and resulted in a virtuoso, almost constantly moving toccata.
The final applause didn't want to end and so the encore included a bouncer peppered with quotes from famous works - musical fun at a high level that left the audience in a cheerful mood.