Jens Korndoerfer [had been chosen] to open the Heidenreich-Festival – an excellent choice; an exceptional beginning […]
All of this, as impressive as it is performed, was nothing but an introduction […] to Liszt’s Fantasy, which the artist mastered with bravery and intoxicating temperamental changes. He combined his impressive mastery of the keyboard with a thorough knowledge of alternating and overlapping layers of expression. From dark depths, he let the music rise majestically, then brightened it up, and internalized it again. He contrasted this soliloquy with the pagentry of a parade, the admonishing sermon with the sweetness of enchanted psalm-singing, and – in the sharp rhythms of the fugue – with jagged military preciseness.
Just as he relocated Rachmaninov’s Prelude in c sharp minor from the salon to the church, he seemed to urge Liszt’s symphonic organ poetry from the house of God into the theatre. Indeed, the theme is a hymn from Meyerbeers ‘Le Prophète’ - and Jens Korndörfer at the console of the Heidenreich-organ turned into the conductor of a grand opera.