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Bach’s organ masterpieces as musical liturgy. His music expresses the dynamics of the infinite like no other. An unimaginable, profound spiritual and artistic moment through the sound of the beautiful organ of St Benedict’s church.
Consecrated
Artist's message to visitors:
Music is one of the languages in which notes are written instead of words. One could say that in music, notes are words, phrases are sentences, and sections of a composition are paragraphs; that, instead of punctuation, we use caesuras, rests, accents, and the like; and that music therefore has its own “grammar”, with distinct “linguistic levels” — from morphology to syntax, through its systems of scales and harmonic procedures. It imitates emotional states, “paints” an atmosphere, and together with onomatopoeia or sound symbolism, it can awaken perception, understanding, and response in the listener. Through the language of music, the same emotion can be expressed in countless different ways, whereas in verbal language, the number of synonyms for a given feeling is limited. And this is precisely what Bach, in a way, simplified to such an extent that he set an emotion to music in his own manner and then continued to use the same musical patterns for it throughout his works.
My artistic mission:
And yet, we do not need instructions or a legend to recognise and listen to his music — only an openness to it, and a rich inner world capable of subconsciously perceiving the many shapes and emotions within it. These perceptions have a powerful effect not only on heart rate and blood pressure, but also on dopamine levels, evoking a sense of balance, a sense of joy. I wish that you may experience such feelings as often as possible in your life.
Event programme
Johann Sebastian Bach
Preludes, Fugues and Chorale Preludes
Following the example of Bach's “Great German Organ Mass”, where the mass ordinary (Kyrie, Gloria, Credo, Sanctus, Agnus Dei) and the mass proper (Introit, Offertory, Communion, Concluding rite) are replaced by organ preludes, fugues and chorale preludes, a selection of the most recognizable and at the same time important organ works has been created. These range from the Prelude in E flat major (a French overture in form), the chorale preludes, the Toccata and Fugue in D minor, forms the arc of the “musical” liturgy right up to the triple fugue, which also concludes the “organ mass”, a form characteristic of the Baroque period. Bach's exceptional sense for setting different emotional states to music and his mastery of counterpoint and polyphony still keep us enthralled today, since with their contemplative power and harmony they calm the listener and prepare them for an artistic and spiritual experience.
Praeludium pro Organo pleno et fuga (BWV 552)
Wachet auf, ruft uns die Stimme (BWV 654)
Allein Gott in der Höh sey Her (BWV 662)
Toccata und Fuge (BWV 565)
Schmücke dich, o liebe Seele (BWV 654)
Wenn wir in höchsten Nöten sein (BWV 641)
Praeludium pro organo pleno Cantu firmo in Tempore per Augment. et Diminut. per chorale in Canone (BWV 552)
Arguably one of Bach’s most thoroughly studied and symbolically rich organ compositions, the Prelude and Fugue in E-flat major (BWV 552) frames the monumental Clavier-Übung III, often referred to as the “German Organ Mass.” This collection is a unique liturgical and compositional project in which individual works — chorale preludes, preludes, and fugues — substitute parts of the Mass Ordinary and Proper. Through it, Bach demonstrates not only his mastery of counterpoint, but also a profound musical reflection on the liturgical structure of the Mass, as understood within Lutheran theological tradition. It stands as one of the most ambitious organ cycles in European music history, comparable to later works by Liszt, Reger, or Messiaen.
The symbolism of the Prelude and Fugue in E-flat major is carefully conceived. The key, with its three flats, symbolises the Holy Trinity, echoed in the three-part structure of the Prelude: a French overture representing the Father, a lyrical Italian-style middle section evoking the Son, and a polyphonic German-style conclusion embodying the Holy Spirit. The Fugue, which concludes the collection, is likewise based on three distinct themes, three metres, and three characters that merge into a unified, majestic polyphonic texture. Bach’s compositional mastery is here interwoven with mystical symbolism that transcends purely rational interpretation.
Between these two extremes — the opening Prelude and the concluding Fugue — this evening’s programme features four chorale preludes and the legendary Toccata and Fugue in D minor (BWV 565). This selection follows not only a liturgical sequence but also a musical dramaturgy — alternating expressive climaxes with meditative moments of inner calm.
Wachet auf, ruft uns die Stimme (BWV 645), the first chorale from the Schübler Chorales, is an arrangement of an aria from Cantata BWV 140. It calls for vigilance and expectation, drawing on the parable of the wise and foolish virgins, read on the final Sunday of the liturgical year. The piece blends contemplative serenity with gentle festivity, seamlessly interweaving melody and accompaniment.
Allein Gott in der Höh sei Ehr (BWV 662) is a chorale setting of the hymn “Glory to God in the highest.” Bach crafts here a lavish yet restrained musical meditation, in which the ornamentation of the upper voice gently fuses with the inner contrapuntal dialogue. Text and music unite in a gesture of praise that is both personal and communal.
The Toccata and Fugue in D minor is known to virtually everyone — even to those unfamiliar with classical music. Its dramatic power has made it a staple of film and popular culture. Yet for the attentive listener, it is far more than a display of bombast: one hears youthful daring, dramatic shaping, and the seamless transition from stylised improvisation to strict fugal structure. The Toccata opens a space for inspiration; the Fugue establishes order and form — the very essence of the Baroque idea of art as harmony between chaos and structure.
The final part of the concert is dedicated to inner peace and silence. Schmücke dich, o liebe Seele (BWV 654), one of the most emotionally profound and expressive chorale preludes in Bach’s oeuvre, is based on a communion hymn and expresses longing for spiritual union. Felix Mendelssohn wrote that this chorale alone could restore one’s faith, if life had taken it away. There is nothing superfluous here — every note is deliberate, every ornamentation carries spiritual weight.
Wenn wir in höchsten Nöten sein (BWV 641), the chorale prelude that concludes the concert, is a prayer for help in times of deepest distress. Here, Bach speaks not with force, but with gentleness and silence. Its music is not grandiose, but intimate — rooted in the belief that even in pain, hope persists.
What exactly is a “chorale prelude” in Bach’s music? It is a form that originates from Lutheran worship, in which chorales — monophonic songs with sacred text — formed a central part of the service. The organ prelude served as an introduction, preparing the congregation for communal singing. Yet Bach transcended this functional role: the chorale prelude becomes autonomous, artistic, theological. Each one is a meditation, in which the melody is adorned, supported by rich counterpoint, and wrapped in sonic symbolism. It is a wordless prayer expressed through harmony.
In Bach’s world, the organ is more than a musical instrument — it is an extension of the human voice and a symbol of divine order. Its power, range, and nuance enable the expression of emotion, spiritual mood, and theological thought. Bach knew the organ intimately, not only as a composer but also as a connoisseur and tester of new instruments. His organ works are not confined to church use, but speak to any listener ready to receive their sound as a form of prayer.
Today’s listener may not encounter these works in a liturgical setting, yet the music still speaks — directly and universally. Its language transcends denomination and speaks to human experience. Bach’s music does not impose belief; it invites contemplation. That is its strength: everyone can embrace it differently — as beauty, comfort, challenge, or inner peace.
The programme performed by Uroš Pele in the Church of St Benedict is not merely a concert, but a holistic experience. It is an invitation to listen to the silence between notes, to the richness of symbolism, and to the beauty of a simple melody. In a world that often rushes past the essential, Bach’s music remains a space of presence. This evening is an invitation to inner attentiveness and quiet inspiration.
Praeludium pro Organo pleno et fuga (BWV 552)
Wachet auf, ruft uns die Stimme (BWV 654)
Allein Gott in der Höh sey Her (BWV 662)
Toccata und Fuge (BWV 565)
Schmücke dich, o liebe Seele (BWV 654)
Wenn wir in höchsten Nöten sein (BWV 641)
Praeludium pro organo pleno Cantu firmo in Tempore per Augment. et Diminut. per chorale in Canone (BWV 552)
Benedikt, Three Kings' Chapel
Short description of the municipality of Benedikt and its known Three Kings' Chapel.
