Uploaded October 2025 | Updated September 2026, 2 hours ago

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This video presents a compilation of a live concert performance.
The program includes:

0:00 Phos Hilaron (Max Brunner)
5:16 Prelude and Fugue in E minor, BWV 548 (J. S. Bach)
20:28 Mass of the Spheres - Kyrie (Max Brunner)
24:54 Symphony No. 5, I. Allegro Vivace (Ch. M. Widor)
35:10 Mass of the Spheres - Sanctus (Max Brunner)
38:02 Widor – Symphony No. 5, II. Allegro Cantabile (Ch. M. Widor)
45:10 Mass of the Spheres - Agnus Dei (Max Brunner)
48:50 Symphony No. 5, IV. Adagio & V. Toccata (Ch. M. Widor)
1:00:25 Phos Hilaron (Max Brunner)

The “Mass of the Spheres” and the concert’s title piece “Phos Hilaron” were both premiered at this event.

Lighting design by David Dinse
Organ: Max Brunner (SpielmitStil)
Conductor: Alex Feih
Choir: Church Choir Donaustauf

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About the Works:


Phos Hilaron
Serving as the concert’s title piece, Phos Hilaron sets an early Christian hymn to music. This composition features a flickering light that gets more and more intense and gets ignated into a huge inferno of light at the end.

J. S. Bach – Prelude and Fugue in E minor, BWV 548
This “great” Prelude and Fugue in E minor stands as one of the monumental achievements in Bach’s organ works. The grave, dramatic prelude evokes a sense of oppressive despair, leading into an expansive and virtuosic fugue—its theme splitting the tonal space so strikingly that it is often referred to as the “Wedge Fugue.”

Mass of the Spheres – Kyrie
Originally composed in 2021 for the Church Choir Donaustauf, this mass highlights contrasting sound “spheres.” In the Kyrie, isolated tones gather into a hovering cluster. Like humankind pleading for mercy, a hesitant line grows into a confident, imploring melody.

Charles-Marie Widor – Symphony No. 5, I. Allegro Vivace
The opening movement of Widor’s most famous organ symphony takes the form of a variation and development over a 32-bar theme. Its energy, distinctive profile, and refined architecture reveal a brilliant symphonic conception—a dazzling beginning to a grand work.

Mass of the Spheres – Sanctus
The Sanctus begins with ethereal fifth-based harmonies, representing a heavenly choir of praise. Beneath it, an “earthly choir” rises in affirmation. The two sound worlds enter into dialogue, culminating in a radiant hymn of exultation.

Widor – Symphony No. 5, II. Allegro Cantabile
At the heart of this movement lies a graceful and expressive oboe melody. The contrasting middle section provides a serene, lyrical interlude.

Mass of the Spheres – Agnus Dei
The Agnus Dei unfolds like a perpetual motion, its countless invocations of the “Lamb of God” finding resolution only in a distant, transcendent chorale—a collective plea for peace.

Widor – Symphony No. 5, IV. Adagio & V. Toccata
Following the meditative Adagio, which features an alto cantus firmus, the brilliant Toccata crowns the symphony. Widor described its texture as follows:
“In this Toccata, I gave the manuals a figure of rapid and evenly flowing motion, in order to make the broad triumphal song of the double pedal in the reprise all the more impressive.”


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