The Easter Alleluia by Bertold Hummel was composed by the young Würzburg professor of composition especially for the festive organ premiere (Führer organ in the Lamberti Church in Oldenburg). The motivic material of this "Fantasia" consists of the first four notes of the Gregorian Easter hymn, which is still alive today in the Easter liturgy of the Catholic Church. From the nucleus of this simple motif, the composer develops his sound ideas of Easter rejoicing and the joy of resurrection. Formally, the work is characterised by the linear progression of the Gregorian theme and vertical chord clusters. The original basis of the Gregorian chant always shines through all the modern sound effects, binding the imaginative variations into a unity and creating a spiritual, mystical foundation.
The particular charm of this impressive composition therefore lies not so much in its logical formal structure - but rather in its richness of movement and tonal colour. This in turn betrays the composer's close affinity to organ practice.
A technically clean, sensitively registered interpretation of the work revealed LKMD Dieter Weiss's passionate personal commitment to new music in general and to the composer Bertold Hummel in particular.

Katharina Haselier

In absolute contrast to this is the way in which Bertold Hummel (1925-2002) approaches the chorale, in this case the well-known Easter Alleluia. Although the theme is always recognisable, the compositional environment alienates it in a fascinating way: From ghostly reworkings and adventurous harmonisation to breathtaking cascades of single notes and Messiaen-like clusters, it contains everything that modern playing technique has to offer on the organ.

As a successful conclusion and bridge to contemporary music, Weinberger presented Hummel's"Alleluja" from 1972. With the Gregorian Alleluia as a starting point, a multi-layered, independent sound world emerges. It is formed from various motif complexes, all of which are related to the thematic origin and reveal its manifold, otherwise hidden manifestations. Fortunately, there is no pandering to traditional listening habits with superficial platitudes.

Bertold Hummel stood in contrast to this with a powerful and expressive "Alleluja" from 1972, unfolding the well-known Gregorian melody against a refined, virtuosically moving background, which also seemed to come increasingly close to it.

The finale was an Easter "Alleluia" for organ op. 44 by B. Hummel, which filled the church with all its richness of movement and tone colour thanks to Andreas Rütschlin's organ playing. In this very expressive and powerful Alleluia', the origins of Gregorian chant shine through again and again, despite all the modern sound effects. Andreas Rütschlin's performance makes it clear how Bertold Hummel has succeeded in building a bridge from the old tradition of Gregorian chant to contemporary music, especially in the church and worship space.
Horst Fischer

She closed with a showstopper, Bertold Hummel’s Alleluja. Messiaen-esque in its rapt, awestruck, somewhat horrified intensity, it’s a partita featuring a neat little flute passage over atmospheric pedals midway through, as well as a theme that borders on the macabre with its severe tonal clusters and recurs with a portentous triumph at the end. With its breathless staccato contrasting with big sustained block chords, it’s not easy to play, and Lee nailed it.

... before he played the impressive composition "Alleluja" by Bertold Hummel. Although the original motif of this piece, namely the Easter Alleluia, is recognisable throughout, it is repeatedly alienated by modern organ playing techniques. This resulted in a variety of soundscapes full of movement and drama.