CD 1:
Prelude and Fugue BWV 533
Fantasia and Fugue BWV 542
Orgelbüchlein 618-624
Chorale partitas BWV 770, Anh. 78
Fantasia BWV 1121
Fugue BWV 574
Neumeister chorales BWV 1098-1100

CD 2:
Preludes and Fugues BWV 546, 551, 544
Prelude BWV 569
Eighteen Leipziger chorales BWV 656, 665, 666, 653
Chorale fantasia BWV 1128
Fugue BWV Anh. 97

CD 3:
Preludes and Fugues BWV 566, 545b
Aria BWV 587
Orgelbüchlein BWV 613-617
Trio Sonata BWV 530
Kirnberger chorales and other chorales BWV 721, 724, 697, 703, 698, 733, 700, 701, 710, 694

CD 4:
Prelude and Fugue BWV 534
Passacaglia BWV 582
Neumeister chorales BWV 714, 742, 1101-1103, 737, 1104-1111
Trio Sonate BWV 526

CD 5:
Fantasia and Fugue BWV 562
Toccata and Fugue BWV 538
Kirnberger chorales and other chorales BWV 709, 726, 727, 712, 713, 728, 706, 732, 734, 1085, 735, 691, 690, 736
Concerto BWV 593

CD 6:
Fantasia and Fugue BWV 561
Prelude and Fugue BWV 532
Eighteen Leipziger chorales BWV 662-664, 655, 668
Chorale BWV 725
Fugues BWV 578, 131a

OpusBach It is finished. Peter Kofler’s grand Bach passion has reached its sonorous finale. Only six years after its inception in 2017, the native of Bolzano finalizes his complete recording at the four-manual Rieger organ of the Jesuit Church of St. Michael’s in Munich. Not only has this ambitious project set entirely new standards in recording engineering, but simultaneously it connects the spirited joy of a historically informed approach and the tonal possibilities of modern organ building. For – unlike other complete recordings of Bach’s organ works – this one does not rely on historical organs, but utilizes a single modern instrument – namely the organ that has been Kofler’s musical home since 2008, so rich in colors that he himself describes this richness as almost inexhaustible. Kofler takes advantage of this fascinating range by tirelessly contriving ever fresh combinations of sounds and register, which perfectly unfurl and reinforce the character of every single piece. The final CD – number 16 – ends with a track in radiant D major, the very essence of joy and gratitude in Kofler’s Bachian cosmos. And he adds with barely hidden pride: “I believe that even Bach himself would have found joy in this!” Recording produced in Dolby Atmos technology This organ production uses the high-resolution Dolby Atmos technology for the first time. It allows the church interior to be authentically reflected not only in its horizontal dimensions but also in its vertical acoustics, its height. Even conventional stereo CDs benefit from this recording technique, which provides the listener with a fascinating transparency and spatial resolution. Various high-resolution multichannel formats are offered for download at the website opusbach.de. Streaming in Dolby Atmos at TIDAL and Amazon Music HD. “Everybody who has enjoyed this sound experience even just once will share my enthusiasm. However, what I consider the center of this project is neither the modern organ nor the sound engineering, but purely and simply Johann Sebastian Bach’s music.“ Peter Kofler Peter Kofler The organist and harpsichordist, born in Bolzano in 1979, received his first musical training at the Claudio Monteverdi Conservatory in his hometown. In Munich he studied organ and church music with Harald Feller as well as harpsichord with Christine Schornsheim. Peter Kofler is regarded an established expert for the rhetoric of baroque music and regularly works as a chamber musician, teaming up with the likes of Dorothee Oberlinger and Dmitry Sinkovsky. In addition to teaching organ and choral conducting at Munich’s University of Music and Performing Arts, he has been the organist of the Jesuit church of St. Michael’s in Munich since 2008.