| REVIEWS

CD REVIEWS „OPUS BACH“ – See original version in German

BR, Allegro program
With every note, you can hear the profound knowledge and love that characterizes Peter Kofler’s exploration of Johann Sebastian Bach’s organ works: colorful, luminous, powerful. Susanne Schmerda, February 27, 2024

Concerti
He knows the organ, he knows Bach. He knows how things fit together. And so we hear a versatile, colorful, and precisely articulate Bach. Christoph Vratz, February 13, 2024

Classical Music Sentinel
It’s without a doubt a pleasure to listen to from start to finish. Jean-Yves Duperron, February 2024

Opus HD e-magazine
Here is a sonic and musical wonder on CD. Jean-Jacques Millo, February 25, 2024

Süddeutsche Zeitung
Music Tip! … Kofler not only plays with impeccable technical skill, but also demonstrates a refined sense of musicality and clear, stylistically assured vision in his registration and interpretation. This is not a chronological recording, nor is it on a historical organ, but rather one that blends preludes and fugues, fantasias, and chorale preludes from various periods of Bach’s career on the fantastic Rieger organ, as if each CD were a contemporary concert. …
KLK, October 4, 2019

ORF, Ö1
… It is not only a special, new technical recording technique that makes “Opus Bach” worth listening to, but above all Peter Kofler’s assured and highly nuanced interpretation.
Daniela Knaller

musicweb-international.com
… There is so much here to admire that I will just single out some of my particular highlights. … I have nothing but high praise for this release, and enthusiastically look forward to the next instalment. This is an auspicious start to what promises to be a compelling cycle.
Stephen Greenbank, Nov 2019

musicweb-international.com
… Kofler’s focused, precise playing is admirable, combining so effectively with his registration choices. …
Michael Cookson, Dec 2019

CD REVIEWS „TRANSKRIPTIONEN“ – See original version in German

Crescendo writes: (Issue 01/2016)
“…On the album “Transcriptions”, the 36-year-old combines orchestral works by Franz Liszt, Gabriel Fauré, Claude Debussy and Maurice Ravel, four composers who worked particularly with tone colors.” Kofler brings this out with infectious attention to detail, without ever striving for the sonic ideal of symphonic works… “
Maximilian Theiss

BR-KLASSIK writes:
“…Kofler’s sense of registration, with which he elevates the one-man orchestra, the organ, to truly symphonic qualities, makes the listener forget for a while that this is actually a highly complex musical instrument.”
Matthias Keller

DER NEUE MERKER writes:
“…A gold medal for Peter Kofler and another for the St. Michael’s organ (Munich) for an overwhelming sonic experience! All the above-mentioned prerequisites are perfectly fulfilled on this CD recording. It is simply incredible what magnificent, at times downright “heavenly” tonal colors Peter Kofler coaxes from the St. Michael’s organ. I was particularly taken with the impressionistic sounds in Maurice Ravel’s “Daphnis et Chloé.” Kofler does use transcriptions by famous colleagues, but ultimately he has to coax the very best sound from his instrument. And Kofler does just that with his registration finesse – he conjures sound magic!”
Doro Zweipfennig

CONCERTI writes:
“…Kofler elicits biting harmonies from the instrument, which was last overhauled by Rieger in St. Michael in Munich in 2011, like in Ravel’s Danse générale, wafting accompaniments like in Fauré’s Fileuse or gentle steps like at the beginning of Franziskus’ wave migration. It all sounds very organic, especially since in this Liszt Kofler cleverly combines the pleasant warmth in the bass with silvery treble figures mixed.”
Christoph Vratz

MÜNCHNER MERKUR writes:
“…the organist shows his skills in Franz Liszt’s “Saint François de Paule marchant sur les flots” with great virtuosity. In the transcription of Liszt’s symphonic poem “Prometheus” Kofler’s fine sense of registration is revealed once again. He skillfully elicits lovely, very intimate sounds from the monumental organ in the Sicilienne from “Pelléas et Mélisande” by Gabriel Fauré and emphasizes the idyllic character of the suite. With this recording, Kofler once again demonstrates his feel for the Rieger organ and the 19th century repertoire.”
Anita Svach

CD REVIEWS „REGER & RHEINBERGER“ – See original version in German

Musica Sacra – Sept./Oct. 2014 issue
“…Kofler’s interpretations leave nothing to be desired. Supported by outstanding recording technology, clear and transparent soundscapes emerge despite the significant reverberation. The playing is expressive and unpretentiously virtuosic. The sophisticated registrations congenially showcase the organ’s fascinating colors. Added to this are the very attractive CD packaging and an informative bilingual booklet. A truly exemplary production in every respect.” Dan Zerfaß

BR-KLASSIK writes:
…All of this is registered with utmost coherence and masterfully performed. The sonic presence of this second installment of Kofler’s newly initiated organ series is also exceptionally successful.

DER NEUE MERKER writes:
…In the nine pieces recorded here, Peter Kofler conjures up the wonderful world of tonal colors of St. Michael’s organ in all its refined nuances.

ORGAN JOURNAL writes:
…Through the skillful grouping of the Reger cycle around the Rheinberger sonatas, Kofler’s careful and at the same time always musically inspired playing succeeds in conveying the characters of both composers to the listener in an unhurried manner, so that in the end admiration for a great era in music history prevails.

REVIEWS „DIE MICHAELSORGEL“ – See original version in German

Classical Music Today, December 6, 2012 – Detmar Huchting
“…Peter Kofler demonstrates that he truly deserves the title of virtuoso – his dexterity and sensitivity combine in a profound way that greatly benefits the music. His colorful registration allows the instrument to reveal the full range of its voices…”

Munich Mercury, November 28, 2012
“…Kofler is no showman who relies on overwhelming spectacle. The unpretentious, stylistically assured, and sonically conscious structuralist is always palpable…”

REVIEWS „KUNST DER FUGE“ – See original version in German

Crescendo 2011/01 – BURKHARD SCHÄFER
“…Now the harpsichordist and organist Peter Kofler ventures an interpretation – and wins across the board! There are several reasons why this recording can compete with the best recordings of The Art of Fugue: Firstly, Kofler plays “his” Bach with great sensitivity and intellectual depth.” He takes his time to make the complexity of the music sensually perceptible, using two superb instruments in the process…“

Fono Forum 04/2011 – Arndt Richter
“…Thanks to his nuanced articulation and phrasing, he creates an extraordinary transparency in the polyphonic texture. Let no one say that a harpsichord is inherently monochromatic!…“

Klassik heute 15.03.11 – Detmar Huchting
“…Thus, he delivers a clearly structured, yet also vibrant and imaginative version of The Art of Fugue, which, in a sense, lets the music speak for itself…“

BR-Klassik – Die Kostprobe from 27.02.2011 – Wolfgang Schicker
“…Under the hands of Peter Kofler, organist at the Jesuit and Court Church of St. Michael in Munich, Bach’s contrapuntal art unfolds with an extremely vital sonic sensuality. Kofler manages the balancing act: He “The cycle, in all its universal erudition, is brought to the fore, as is the individual fugue as a miniature, as a ‘character piece’ – and this is certainly to be understood in the romantic, Schumannian sense…”

WDR3 – Tonart – Jan Ritterstaedt
“…The mix is ​​what makes it: sometimes harpsichord, sometimes organ, sometimes this register, sometimes that, sometimes driving forward, sometimes straightforward, sometimes delicate and transparent, sometimes massive and sonorous – Peter Kofler’s interpretation of Bach’s Art of Fugue is exceptionally multifaceted and clearly well-conceived in its dramaturgy. The harpsichordist has thus succeeded in illuminating the Thomaskantor’s supposedly austere didactic work with a wealth of colors. This CD is a joy to listen to and promises plenty of excitement and the highest artistry – from the simple theme in its original form to the unfinished final fugue, with which Kofler brings the work to a close with a touch of pathos…”