Reaching the heart of new music – this is what drives organist Wolfgang Kogert: “It is incredibly inspiring for me to know the people who created these compositions. As a result their music reaches me in a much more comprehensive way.” A great number of works have been premiered by Wolfgang Kogert and were dedicated to him trusting in his respectful approach, virtuosity and meticulousness. He spares no effort in visiting composers for joint rehearsals at their working place and in doing so he has gained a well-based overview of musicians from many countries, generations and styles over the past fifteen years. The internationally sought-after musician and teacher at the Mozarteum University in Salzburg has also observed that “music and composer often seem to form a unit – finding it’s expression in the whole personality, in the habitus, in the use of language and of course in the rehearsal work.”

For his album “Horizon” the Viennese-born organist of the traditional court chapel in his home-town has found a coherent series of pieces, a collection that has grown gradually. Without placing a work in the center these compositions created around the year 2000 are (in his view) successful examples of the diversity of today’s music and the tonal possibilities offered by the organ as an instrument. Wolfgang Kogert must find two criteria fulfilled when dealing with a composition: emotion and inspiration. “Does the piece evoke strong emotions in me at first glance and does it inspire me long term in the sense that this music won’t let me go?” With the exception of “Péan IV” by Jean-Pierre Leguay, all works are premiere recordings. In order to ensure the greatest possible authenticity, the performer worked in close artistic exchange with all composers throughout the entire process of creating the album.

In the eighteenth century, a special genre of instrumental ensemble playing developed in church music: works were written for a wind instrument and obbligato organ. The geographical center of this genre was the kingdom of Saxony along with Thuringia. The majority of these works specify oboe as the wind instrument, less frequently horn or even trumpet, flute, or bassoon. Besides a few compositions in a free style, these were predominantly chorale preludes in which the wind instrument played the cantus firmus (the chorale melody), and the organ, usually in trio textures, performed elaborate, often very virtuoso figurations.

Memento mori or the "Ars morendi" have always been intended as an aid to a meaningful life. Viewing life as a path, as a journey, encourages a sense of balance and calls for spiritual viaticum.

Two magnificent masses by the most important German representative of the "Messa concertata" at the beginning of the 17th century

Telemann's practicality enabled him to recognize at a very early stage the cantors' desire for cantatas that are easy to perform. For this reason the collection entitled "Der Harmonische Gottesdienst" quickly became popular and no doubt earned him a handsome profit. The publication of this collection made him one of the most popular cantata composers of his time. In 1728 Mattheson referred to "Der Harmonische Gottesdienst" in his "Musicalischen Patrioten" as a standard work of valuable domestic music.

An interpreter portrait of one of the most important German organists and composers in the second half of the 20th century

Ehmann and the Westfalische Kantorei were among the pioneers in the field of historically informed performance practice. In particular, they brought the work of Heinrich Schutz back into public awareness.

Among the large number of passions that Telemann wrote, the St. Luke Passion of 1744 occupies an important place due to it's special interpretation of the text.

The most important musical setting of the Nativity before Johann Sebastian Bach

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music