A thoroughly fantastic, half visionary, half agitated and excited mood dominates. The power and fascination of the work lies in this fantasy.

The virtuosically designed composition has a three-part form. Hummel calls it "one of his first fully chromatic works", which works with the twelve-tone row but still wants to remain comprehensible.

The central work of the evening, Bertold Hummel's Fantasie for organ , is a different story. The piece is not only an enrichment and addition to German, indeed international organ music, but also a new discovery. Hummel's style is independent. Even if his fantasy could have done with a larger organ and a larger space for the sake of tonal effects, in this church it became even clearer with how much logic and sense for motivic-thematic connections, with what understanding and feeling for tonal and rhythmic stimuli Hummel expands his art. It is by no means a matter of showmanship or technical gimmicks, but rather the intellectual and musical achievement of an artist who not only masters his craft down to the smallest detail, but who also listens as a practising musician to the infallible inner voice that dictates inspiration to his pen. The fantasia is divided into Introduction - Passacaglia and Arioso. Each of these independent parts refers to a musical nucleus from which the work of art develops organically and uniformly. Hummel's judgement here is very admirable and astonishing. A nucleus can be found in the second bar of the introduction in the bass line. The passacaglia theme is formed from this, the variants of the passacaglia experience an increase in dynamics and movement, they consistently follow the tonal scheme of the circle of fifths in the further course. The arioso also utilises the intervallic structure of the aforementioned germ cell in the theme. Polytonality, inversion and crab are a few more features that make the work highly attractive, not only in terms of the aural impression but also in terms of the compositional style.